m^mM^  wmm  tis  \  m  mm  mmm^^ 


mm 


VENICE 


GRAWT  ALLEN'S 
HISTORICAL   GUIDES 


UC-NRLF 


$B    51D    13k. 


University  of  California 
Department  of  University  Extension 


nmm  \ 


University  of 

California 

Department 

OF  University  Exte 

NSION 

jt 

^,.  / 

^i^t^ 

^-  /y 

-03 

tX^hhiilOls 


©rant  alien's  f^istortcal  ©utiles 


Fcap.  Svo,  green  cloth,  with  rounded  corners  to 
slip  in  the  pocket,  price  y.  M.   net  each. 


I.  PARIS.     By  Grant  Allen 

{Second  Edition). 
II.  FLORENCE.     By  Grant  Allen 

{Second  Edition). 

III.  THE     CITIES     OF    BELGIUM. 

By  Grant  Allen. 

IV.  VENICE.     By  Grant  Allen. 

V.  THE    CITIES    OF    NORTHERN 
ITALY.    By  Geo.  C.  Williamson,  Litt.D. 

VI.  THE    UMBRIAN    TOWNS.      By 

Mr.  and  Mrs.  J.  W.  Cruickshank. 


LONDON :    GRANT  RICHARDS 

9   HENRIETTA   STREET,   W.C 


VENICE 


GRANT  ALLEN'S  HISTORICAL  GUIDE 
BOOKS  TO  THE  PRINCIPAL  CITIES  OF 
EUROPE  TREATING  CONCISELY  AND 
THOROUGHLY  OF  THE  PRINCIPAL 
HISTORIC  AND  ARTISTIC  POINTS 
OF  INTEREST  THEREIN 


^\ 


^^ 


■»     »    » -I 


^•v 


^r. 


NEW   YORK 

A.   WESSELS    COMPANY 

1902 


T-/Y^ 


(9  ^ 


=^ 


;i-i 


/ 


INTRODUCTION 

THE  object  and  plan  of  these  Historical  Handbooks  is 
somewhat  different  from  that  of  any  other  guides  at 
present  before  the  public.  They  do  not  compete  or  clash 
with  such  existing  works  ;  they  are  rather  intended  to 
supplement  than  to  supplant  them.  My  purpose  is  not  to 
direct  the  stranger  through  the  streets  and  squares  of  an 
unknown  town  towards  the  buildings  or  sights  which  he 
may  desire  to  visit ;  still  less  is  it  my  design  to  give  him 
practical  information  about  hotels,  cab  fares,  omnibuses,  tram- 
ways, and  other  every-day  material  conveniences.  For  such 
details,  the  traveller  must  still  have  recourse  to  the  trusty 
pages  of  his  Baedeker,  his  Joanne,  or  his  Murray.  I  desire 
rather  to  supply  the  tourist  who  wishes  to  use  his  travel  as  a 
means  of  culture  with  such  historical  and  antiquarian  in- 
formation as  will  enable  him  to  understand,  and  therefore  to 
enjoy,  the  architecture,  sculpture,  painting,  and  minor  arts  of 
the  towns  he  visits.  In  one  word,  it  is  my  object  to  give  the 
reader  in  a  very  compendious  form  the  result  of  all  those 
inquiries  which  have  naturally  suggested  themselves  to  my 
own  mind  during  thirty-five  years  of  foreign  travel,  the  solution 
of  which  has  cost  myself  a  good  deal  of  research,  thought,  and 
labour,  beyond  the  facts  which  I  could  find  in  the  ordinary 
handbooks. 

For  several  years  past  I  have  devoted  myself  to  collecting 
and  arranging  material  for  a  set  of  books  to  embody  the  idea 

373 1 52 


6  IN  TROD  UC  TION 

[  had  thos  erxtevlaincd.  I  earnestly  hope  they  may  meet  a 
want  on  the  part  of  tourists,  especially  Americans,  who,  so  far 
as  my  experience  goes,  usually  come  to  Europe  with  an  honest 
and  reverent  desire  to  learn  from  the  Old  World  whatever  of 
value  it  has  to  teach  them,  and  who  are  prepared  to  take  an 
amount  of  pains  in  turning  their  trip  to  good  account  which 
is  both  rare  and  praiseworthy  For  such  readers  I  shall  call 
attention  at  times  to  other  sources  of  information. 

These  guide-books  will  deal  more  particularly  with  the  Great 
Towns  where  objects  of  art  and  antiquity  are  numerous. 
In  every  one  of  them,  the  general  plan  pursued  will  be  some- 
what as  follows.  First  will  come  the  inquiry  why  a  town  ever 
gathered  together  at  all  at  that  particular  spot— what  inducec 
the  aggregation  of  human  beings  rather  there  than  elsewhere. 
Next,  we  shall  consider  why  that  town  grew  to  social  or  political 
importance  and  what  were  the  stages  by  which  it  assumed  its 
present  shape.  Thirdly,  we  shall  ask  why  it  gave  rise  to  that 
higher  form  of  handicraft  which  we  know  as  Art,  and  towards 
what  particular  arts  it  especially  gravitated.  After  that,  we 
shall  take  in  detail  the  various  strata  of  its  growth  or  develop- 
ment, examining  the  buildings  and  works  of  art  which  they 
contain  in  historical  order,  and,  as  far  as  possible,  tracing  the 
causes  which  led  to  their  evolution.  In  particular,  we  shall 
lay  stress  upon  the  origin  and  meaning  of  each  structure  as 
an  organic  whole,  and  upon  the  allusions  or  symbols  which 
its  fabric  embodies. 

A  single  instance  will  show  the  method  upon  which  I  intend 
to  proceed  better  than  any  amount  of  general  description. 
A  church,  as  a  rule,  is  built  over  the  body  or  relics  of  a 
particular  saint,  in  whose  special  honour  it  was  originally 
erected.  That  saint  was  usually  one  of  great  local  importance 
at  the  moment   of   its    erection,    or    was  peculiarly  implored 


INTRODUCTION  7 

against  plague,  foreign  enemies,  or  some  other  pressing  and 
dreaded  misfortune.  In  dealing  with  such  a  church,  then,  I 
endeavour  to  show  what  were  the  circumstances  which  led  to 
its  erection,  and  what  memorials  of  these  circumstances  it  still 
retains.  In  other  cases  it  may  derive  its  origin  from  some 
special  monastic  body — Benedictine,  Dominican,  Franciscan — 
and  may  therefore  be  full  of  the  peculiar  symbolism  and  his- 
torical allusion  of  the  order  who  founded  it.  Wherever  I  have 
to  deal  with  such  a  church,  I  try  as  far  as  possible  to  exhibit 
the  effect  which  its  origin  had  upon  its  architecture  and  decora- 
tion ;  to  trace  the  image  of  the  patron  saint  in  sculpture  or 
stained  glass  throughout  the  fabric  ;  and  to  set  forth  the  con- 
nection of  the  whole  design  with  time  and  place,  with  order 
and  purpose.  In  short,  instead  of  looking  upon  monuments 
of  the  sort  mainly  as  the  product  of  this  or  that  architect,  I 
look  upon  them  rather  as  material  embodiments  of  the  spirit 
of  the  age — crystallizations,  as  it  were,  in  stone  and  bronze,  in 
form  and  colour,  of  great  popular  enthusiasms. 

By  thus  concentrating  attention  on  what  is  essential  and 
important  in  a  town,  I  hope  to  give  in  a  comparatively  short 
space,  though  with  inevitable  conciseness,  a  fuller  account  than 
is  usually  given  of  the  chief  architectural  and  monumental 
works  of  the  principal  art-cities.  In  dealing  with  Paris,  for 
example,  I  shall  have  little  to  say  about  such  modern  con- 
structions as  the  Champs  Elysees  or  the  Eiffel  Tower ;  still 
less,  of  course,  about  the  Morgue,  the  Catacombs,  the  waxworks 
of  the  Musee  Grevin,  and  the  celebrated  Excursion  in  the  Paris 
Sewers.  The  space  thus  saved  from  vulgar  wonders  I  shall 
hope  to  devote  to  fuller  explanation  of  Notre-Dame  and  the 
Sainte  Chapelle,  of  the  mediaeval  carvings  or  tapestries  of 
Cluny,  and  of  the  pictures  or  sculptures  in  the  galleries  of  the 
Louvre.     Similarly  in  Florence,  whatever  I  save  from  descrip- 


8  INTRODUCTION 

tion  of  the  Cascine  and  even  of  the  beautiful  Viale  dei  Colli 
(where  explanation  is  needless  and  word-painting  superfluous), 
I  shall  give  up  to  the  Bargello,  the  Uffizi,  and  the  Pitti  Palace. 
The  passing  life  of  the  moment  does  not  enter  into  my  plan  ; 
I  regard  each  town  I  endeavour  to  illustrate  mainly  as  a 
museum  of  its  own  history 

For  this  reason,  too,  I  shall  devote  most  attention  in  every 
case  to  what  is  locally  illustrative,  and  less  to  what  is  merely 
adventitious  and  foreign.  In  Paris,  for  instance,  I  shall  have 
more  to  say  about  truly  Parisian  art  and  history,  as  embodied 
in  St.  Denis,  the  tie  de  la  Cite,  and  the  shrine  of  Ste.  Genevieve, 
than  about  the  Egyptian  and  Assyrian  collections  of  the  Louvre. 
In  Florence,  again,  I  shall  deal  rather  with  the  Etruscan  re- 
mains, with  Giotto  and  Fra  Angelico,  with  the  Duomo  and  the 
Campanile,  than  with  the  admirable  Memlincks  and  Rubenses 
of  the  Uffizi  and  the  Pitti,  or  with  the  beautiful  Van  der  Goes 
of  the  Hospital  of  Santa  Maria.  In  Bruges  and  Brussels, 
once  more,  I  shall  be  especially  Flemish  ;  in  the  Rhine  towns, 
Rhenish  ;  in  Venice,  Venetian.  I  shall  assign  a  due  amount 
of  space,  indeed,  to  the  foreign  collections,  but  I  shall  call 
attention  chiefly  to  those  monuments  or  objects  which  are  of 
entirely  local  and  typical  value. 

As  regards  the  character  of  the  information  given,  it  will  be 
mainly  historical,  antiquarian,  and,  above  all,  explanatory. 
I  am  not  a  connoisseur— an  adept  in  the  difficult  modern 
science  of  distinguishing  the  handicraft  of  various  masters,  in 
painting  or  sculpture,  by  minute  signs  and  delicate  inferential 
processes.  In  such  matters,  I  shall  be  well  content  to  follow 
the  lead  of  the  most  authoritative  experts.  Nor  am  I  an  art- 
critic — a  student  versed  in  the  technique  of  the  studios  and  the 
dialect  of  the  modelling-room.  In  such  matters,  again,  I  shall 
attempt  little  more  than  to  accept  the  general  opinion  of  the 


INTRODUCTION  9 

most  discriminative  judges.  What  I  aim  at  rather  is  to  expound 
the  history  and  meaning  of  each  work — to  put  the  intelligent 
reader  in  such  a  position  that  he  may  judge  for  himself  of  the 
aesthetic  beauty  and  success  of  the  object  before  him.  To 
recognise  the  fact  that  this  is  a  Perseus  and  Andromeda,  that 
a  St.  Barbara  enthroned,  the  other  an  obscure  episode  in  the 
legend  of  St.  Philip,  is  not  art-criticism,  but  it  is  often  an  almost 
indispensable  prelude  to  the  formation  of  a  right  and  sound 
judgment.  We  must  know  what  the  artist  was  trying  to  repre- 
sent before  we  can  feel  sure  what  measure  of  success  he  has 
attained  in  his  representation. 

For  the  general  study  of  Christian  art,  alike  in  architecture, 
sculpture,  and  painting,  no  treatises  are  more  useful  for  the 
tourist  to  carry  with  him  for  constant  reference  than  Mrs. 
Jameson's  Sacred  and  Legendary  Art,  and  Legends  of  the 
Madonna  (London,  Longmans).  For  works  of  Italian  art,  both 
in  Italy  and  elsewhere,  Kugler's  Italian  Schools  of  Paintmg  is 
an  invaluable  vade-mecum.  These  books  should  be  carried 
about  by  everybody  everywhere.  Other  works  of  special  and 
local  importance  will  occasionally  be  noticed  under  each  par- 
ticular  city,  church,  or  museum. 

I  cannot  venture  to  hope  that  handbooks  containing  such 
a  mass  of  facts  as  these  will  be  wholly  free  from  errors  and 
misstatements,  above  all  in  early  editions.  I  can  only  beg 
those  who  may  detect  any  such  to  point  them  out,  without 
unnecessary  harshness,  to  the  author,  care  of  the  publisher, 
and  if  possible  to  assign  reasons  for  any  dissentient  opinion. 


CONTENTS 


PAGE 

Introduction 5 

How  TO  Use  these  Guide-Books 12 

I    Origins  of  Venice 13 

II    Byzantine  Venice  :  St.  Mark's        .        .        .        .23 

III  Gothic  Venice  :  The  Doge's  Palace       ...  85 

IV  Renaissance  Venice 97 

V    The  Four  Great  Plague-Churches        .       .        .103 

A.  The  Salute 104 

B.  San  Rocco,  and  the  Scuola  di  San  Rocco    .         .  107 

C.  San  Giobbe 112 

D.  San  Sebastiano 116 

VI    The  Academy 120 

VII    The  Doge's  Palace 176 

VIII    The  Grand  Canal 198 

IX    The  Friars'  Churches 215 

A.  SS.  Giovanni  e  Paolo 216 

B.  The  Frari 229 

X    Minor  Sights 241 

A.  San  Giorgio  degli  Schiavoni         ....  242 

B.  San  Zaccaria 247 

C.  The  Palladian  Churches 251 

D.  The  Residuum 255 

Appendix 262 

II 


HOW   TO    USE   THESE   GUIDE- 
BOOKS 

rH  E  portions  of  this  book  intended  to  be  read  at 
leisure  at  home,  before  proceedi?ig  to  explore  each 
toivn  or  monument,  are  enclosed  in  brackets  \thus\ 
The  portion  relaiiftg  to  each  principal  object  should 
be  quietly  read  and  digested  before  a  visit,  and  re- 
ferred to  again  aftertvards.  The  portion  to  be  read  on 
the  spot  is  made  as  brief  as  possible,  a?id  is  printed  in 
large  legible  type,  so  as  to  be  easily  read  in  the  dim  light  of 
churches,  chapels,  and  galleries.  7%^  key = note  words  ar^ 
printed  iti  bold  type,  to  catch  the  eye.  Where  objects  are 
numbered,  the  numbers  used  are  always  those  of  the  latest 
official  catalogues. 

Baedeker's  Guides  are  so  printed  that  each  principal  por- 
tion can  be  detached  entire  from  the  volume.  The  traveller 
who  uses  Baedeker  is  advised  to  carry  in  his  pocket  one 
such  portion,  referring  to  the  place  he  is  then  visiting,  to- 
gether with  the  plan  of  the  town,  while  carrying  this  book 
in  his  hafid.  These  Guides  do  not  profess  to  supply  prac- 
tical information. 

Individual  works  oj  merit  are  distinguished  by  an  aster- 
isk (*)y  those  of  very  exceptional  interest  and  merit  have 
two  asterisks.  Nothing  is  noticed  in  this  book  which  does 
fwi  seem  to  the  writer  worthy  of  attention. 

See  little  at  a  time,  and  see  it  thoroughly.  Never  attonpt 
to  '■'■do"  any  place  or  any  monument.  By  following  strictly 
the  order  ifi  which  objects  are  noticed  in  this  book,  you  ivill 
gain  a  conception  of  the  historical  evolution  of  the  tozvn 
7vhich  you  cannot  obtain  if  you  go  about  looking  at  churches 
and  palaces  hap-hazard.  The  order  is  arranged,  fiot  quite 
chronologically,  but  on  a  definite  plan,  ivhich  greaty  facili- 
tates comprehension  of  the  subject. 


11 


I 

ORIGINS  OF  VENICE 

THE  very  name  of  Venezia  or  Venice  by  which  we 
now  know  the  city  of  the  lagoons  is  in  its  origin 
the  name,  not  of  a  town,  but  of  a  country.  Upon  the 
proper  comprehension  of  this  curious  fact  depends  a  proper 
comprehension  of  much  that  is  essential  in  the  early  history 
of  the  city  and  of  the  Republic. 

The  rich  and  fertile  valley  of  the  Po  had  for  its  com- 
mercial centre  from  a  very  remote  period  the  town  of 
Mediolanum  or  Milan.  But  its  port  for  the  time  being, 
though  often  altered,  lay  always  on  the  Adriatic.  That  sea 
derives  its  name,  indeed,  from  the  town  of  Hatria,  (later 
corrupted  into  Adria,)  which  was  the  earliest  centre  of  the 
Po  valley  traffic.  Hatria  and  its  sister  town  of  Spina,  how- 
ever, gave  way  in  imperial  Roman  times  to  Padua,  and 
again  in  the  days  of  the  lower  empire  to  Aquileia,  near 
Trieste,  and  to  Altinum,  on  the  mainland  just  opposite 
Torcello.  Padua  in  particular  was  a  very  prosperous  and 
populous  town  under  the  early  emperors  ;  it  gathered  into 
itself  the  surplus  wealth  of  the  whole  Po  valley. 

The  district  between  Verona  and  the  sea,  known  to  the 
Romans  as  Venetia,  seems  in  the  most  ancient  times  of 
which  we  have  any  record  to  have  been  inhabited  by  an 
Etruscan  population.  Later,  however,  it  was  occupied  by  the 
Veneti,  an  Illyrian  tribe,  whose  name  still  survives  in  that  of 
Venice  and  in  the  district  known  as  II  Veneto.  But  much 
Etruscan  blood  must  have  remained  in  the  land  even  after 
their  conquest  :  and  it  is  doubtless  to  this  persistent  Etrus- 
can element  that  the  Venetians  owe  their  marked  artistic 
faculty.     The  country  of  the  Veneti  was   assimilated  and 


14  ORIGINS    OF    VENICE  [r, 

Romanised  (by  nominal  alliance  with  Rome)  in  the  third 
century  before  Christ.  Under  the  Romans,  Venetia,  and 
its  capital  Padua,  grew  extremely  wealthy,  and  the  trade  of 
the  Lombard  plain  (as  we  now  call  it),  the  ancient  Gallia 
Cisalpina,  was  concentrated  on  this  district. 

The  Po  and  the  other  rivers  of  the  sub-Alpine  region  bring 
down  to  the  Adriatic  a  mass  of  silt,  which  forms  fan-like 
deltas,  and  spreads  on  either  side  of  the  mouth  in  belts  or 
bars,  (the  Lido,)  which  enclose  vast  lagoons  of  shallow 
water.  These  lagoons  consist  near  the  mainland  of  bask- 
ing mudbanks,  more  or  less  reclaimed,  and  intersected  by 
natural  or  artificial  canals  ;  further  out  towards  the  bars, 
or  Lidi,  they  deepen  somewhat,  but  contain  in  places 
numerous  low  islands.  During  the  long  troubles  of  the 
barbaric  irruptions,  in  the  4th,  5th,  and  subsequent  cen- 
turies, the  ports  of  the  lagoons,  better  protected  both  by 
land  and  sea  than  those  of  the  Po,  began  to  rise  into  com- 
parative importance  ;  on  the  south,  Ravenna,  on  the  north, 
Altinum,  acquired  increased  commercial  value.  The  slow 
silting  up  of  the  older  harbours,  as  well  as  the  dangers  of 
the  poHtical  situation,  brought  about  in  part  this  alteration 
in  mercantile  conditions. 

When  Attila  and  his  Huns  invaded  Italy  in  453,  they 
destroyed  Padua,  and  also  Altinum  ;  and  though  we  need 
not  suppose  that  those  cities  thereupon  ceased  entirely  to 
exist,  yet  it  is  at  least  certain  that  their  commercial  im- 
portance was  ruined  for  the  time  being.  The  people  of 
Altinum  took  refuge  on  one  of  the  islands  in  the  lagoon, 
and  built  Torcello,  which  may  thus  be  regarded  in  a  certain 
sense  as  the  mother=clty  of  Venice.  Subsequent  waves 
of  conquest  had  like  results.  Later  on,  in  568,  the  Lom- 
bards, a  German  tribe,  invaded  Italy,  and  completed  the 
ruin  of  Padua,  Altinum,  and  Aquileia.  The  relics  of  the 
Romanised  and  Christian  Veneti  then  fled  to  the  islands,  to 
which  we  may  suppose  a  constant  migration  of  fugitives  had 
been  taking  place  for  more  than  a  century.  The  Paduans, 
in  particular,  seem  to  have  settled  at  Malamocco.  The 
subjugated  mainland  became  known  as  Lombardy,  from  its 


i]  ORIGINS   OF    VENICE  15 

Germanic  conquerors,  and  the  free  remnant  of  the  Veneti, 
still  bearing  their  old  name,  built  new  homes  in  the  flat 
islets  of  Rivo  Alto,  Malamocco,  and  Torcello,  which  were 
the  most  secure  from  attack  in  their  shallow  waters.  This 
last  fringe  of  their  territory  they  still  knew  as  Venetia  or 
Venezia;  the  particular  island,  or  group  of  islands,  on 
which  modern  Venice  now  stands,  bore  simply  at  that  time 
its  original  name  of  Rivo  Alto  or  Rialto,  that  is  to  say,  the 
Deep  Channel. 

The  Romanised  semi-Etruscan  Christian  Republic  of 
Venezia  seems  from  the  very  first  to  have  been  governed  by 
a  Dux  or  Doge,  (that  is  to  say,  Duke,)  in  nominal  subjection 
to  the  Eastern  Emperor  at  Constantinople.  The  Goth  and 
the  Lombard,  the  Frank  and  the  Hun,  never  ruled  this  last 
corner  of  the  Roman  world.  The  earliest  of  the  Doges 
whose  name  has  come  down  to  us  was  Paulucius  Anafestus, 
who  is  said  to  have  died  in  716,  and  whose  seat  of  govern- 
ment seems  to  have  been  at  Torcello.  Later,  the  Doge 
of  the  Venetians  apparently  resided  at  Malamocco,  a  town 
which  no  longer  exists,  having  been  destroyed  by  sub- 
mergence, though  part  of  the  bank  of  the  Lido  opposite  still 
retains  its  name.  Isolated  in  their  island  fastnesses,  the 
Venetians,  as  we  may  now  begin  to  call  them,  grew  rich  and 
powerful  at  a  time  when  the  rest  of  Western  Europe  was 
sinking  lower  and  lower  in  barbarism  ;  they  kept  up  their 
intercourse  with  the  civilised  Roman  east  in  Constantinople, 
and  also  with  Alexandria,  (the  last  then  Mahommedanised,) 
and  they  acted  as  intermediaries  between  the  Lombard  King- 
dom and  the  still  Christian  Levant.  When  Charlemagne  in 
the  8th  century  conquered  the  Lombards  and  founded  the  re- 
newed (Teutonic)  Roman  Empire  of  the  West,  the  Venetians, 
not  yet  established  in  modern  Venice,  fled  from  Malamocco 
to  Rivo  Alto  to  escape  his  son.  King  Pepin,  whom  they 
soon  repelled  from  the  lagoons.  About  the  same  time  they 
seem  to  have  made  themselves  practically  independent  of 
the  eastern  empire,  without  becoming  a  part  of  the  western 
and  essentially  German  one  of  the  Carlovingians.  Not 
long  after,  Malamocco  was  deserted,  partly  no  doubt  owing 


1 6  ORIGINS    OF    VENICE  [l. 

to  the  destruction  by  Pepin,  but  partly  also  perhaps  because 
it  began  to  be  threatened  with  submergence  :  and  the 
Venetians  then  determined  to  fix  their  seat  of  government  on 
Rivo  Alto,  or  Rialto,  the  existing  Venice.  For  a  long  time, 
the  new  town  was  still  spoken  of  as  Rialto,  as  indeed  a 
part  of  it  is  by  its  own  inhabitants  to  the  present  day  ;  but 
gradually  the  general  name  of  Venezia,  which  belonged 
properly  to  the  entire  Republic,  grew  to  be  confined  in 
usage  to  its  capital,  and  most  of  us  now  know  the  city  only 
as  Venice. 

Pepin  was  driven  off  in  809.  The  Doge's  palace  was 
transferred  to  Rialto,  and  raised  on  the  site  of  the  existing 
building  (according  to  tradition)  in  819.  Angelus  Partici- 
potius  was  the  first  Doge  to  occupy  it.  From  that  period 
forward  to  the  French  Revolution,  one  palace  after  another 
housed  the  Duke  of  the  Venetians  on  the  same  site.  This 
was  the  real  nucleus  of  the  town  of  Venice,  though  the 
oldest  part  lay  near  the  Rialto  bridge.  Malamocco  did  not 
entirely  disappear,  however,  till  1 107.  The  silting  up  of  the 
harbour  of  Ravenna,  the  chief  port  of  the  Adriatic  in  late 
Roman  times,  and  long  an  outlier  of  the  Byzantine  empire, 
contributed  greatly,  no  doubt,  to  the  rise  of  Venice  :  while 
the  adoption  of  Rivo  Alto  with  its  deep  navigable  channel 
as  the  capital  marks  the  gradual  growth  of  an  external 
commerce. 

The  Republic  which  thus  sprang  up  among  the  islands  of 
the  lagoons  was  at  first  confined  to  the  little  archipelago 
itself,  though  it  still  looked  upon  Aquileia  and  Altinum  as 
its  mother  cities,  and  still  acknowledged  in  ecclesiastical 
matters  the  supremacy  of  the  Patriarch  of  Grado.  After 
the  repulse  of  King  Pepin,  however,  the  Republic  began  to 
recognise  its  own  strength  and  the  importance  of  its  position, 
and  embarked,  slowly  at  first,  on  a  career  of  commerce,  and 
then  of  conquest.  Its  earliest  acquisitions  of  territory  were 
on  the  opposite  Slavonic  coast  of  Istria  and  Dalmatia ; 
gradually  its  trade  with  the  east  led  it,  at  the  beginning  of 
the  Crusades,  to  acquire  territory  in  the  Levant  and  the 
Greek  Archipelago.     This  eastern  extension  was  mainly 


I.]  ORIGINS   OF    VENICE  1 7 

due  to  the  conquest  of  Constantinople  by  Doge  Enrico 
Dandolo  during  the  fourth  Crusade  (1204),  an  epoch-making 
event  in  the  history  of  Venice  which  must  constantly  be 
borne  in  mind  in  examining  her  art-treasures.  The  Httle 
outlying  western  dependency  had  vanquished  the  capital  of 
the  Christian  Eastern  Empire  to  which  it  once  belonged. 
The  greatness  of  Venice  dates  from  this  period  ;  it  became 
the  chief  carrier  between  the  east  and  the  west  ;  its  vessels 
exported  the  surplus  wealth  of  the  Lombard  plain,  and 
brought  in  return,  not  only  the  timber  and  stone  of  Istria 
and  Dalmatia,  but  the  manufactured  wares  of  Christian 
Constantinople,  the  wines  of  the  Greek  isles,  and  the 
oriental  silks,  carpets,  and  spices  of  Mahommedan  Egypt, 
Arabia,  and  Bagdad.  The  Crusades,  which  impoverished 
the  rest  of  Europe,  doubly  enriched  Venice  :  she  had  the 
carrying  and  transport  traffic  in  her  own  hands  ;  and  her 
conquests  gave  her  the  spoil  of  many  eastern  cities. 

It  is  important  to  bear  in  mind,  also,  that  the  Venetian 
Republic  (down  to  the  French  Revolution)  was  the  one  part 
of  western  Europe  which  never  at  any  time  formed  a 
portion  of  any  Teutonic  empire,  Gothic,  Lombard, 
Frank,  or  Saxon.  Alone  in  the  west,  it  carried  on  unbroken 
the  traditions  of  the  Roman  empire,  and  continued  its 
corporate  life  without  Teutonic  adulteration.  Its  peculiar 
position  as  the  gate  between  the  east  and  west  made  a  deep 
impress  upon  its  arts  and  its  architecture.  The  city  re- 
mained long  in  friendly  intercourse  with  the  Byzantine 
realm  ;  and  an  oriental  tinge  is  thus  to  be  found  in  all 
its  early  buildings  and  mosaics.  St.  Mark's  in  particular 
is  based  on  St.  Sophia  at  Constantinople  ;  the  capitals  of 
the  columns  in  both  are  strikingly  similar  ;  even  Arab  in- 
fluence and  the  example  of  Cairo  (or  rather  of  early 
Alexandria)  are  visible  in  many  parts  of  the  building. 
Another  element  which  imparts  oriental  tone  to  Venice  is 
the  number  of  imported  works  of  art  from  Greek  churches. 
Some  of  these  the  Republic  frankly  stole  ;  others  it  carried 
away  in  good  faith  during  times  of  stress  to  prevent  them 
from  falling  into  the  hands  of  the  Mahommedan  con- 
V..  V.  B 


l8  ORIGINS   OF    VENICE  fi. 

querors.  The  older  part  of  Venice  is  thus  to  some  extent 
a  museum  of  applied  antiquities;  the  bronze  horses  from 
Constantinople  over  the  portal  of  St.  Mark's,  the  pillars 
of  St.  John  of  Acre  on  the  south  fagade,  the  Greek  lions 
of  the  Arsenal,  the  four  porphyry  emperors  near  the  Doge's 
Palace,  are  cases  in  point  ;  and  similar  instances  will  meet 
the  visitor  in  the  sequel  everywhere.  Many  bodies  of 
Greek  or  eastern  saints  were  also  carried  off  from  Syria  or 
Asia  Minor  to  preserve  them  from  desecration  at  the  hands 
of  the  infidel  ;  and  with  these  saints  came  their  legends, 
unknown  elsewhere  in  the  west ;  so  that  the  mosaics  and 
sculptures  based  on  them  give  a  further  note  of  orientalism 
to  much  of  Venice.  It  may  also  be  noted  that  the  intense 
Venetian  love  of  colour,  and  the  eye  for  colour  which 
accompanies  it,  are  rather  eastern  than  western  qualities. 
This  peculiarity  of  a  pure  colour-sense  is  extremely  notice- 
able both  in  Venetian  architecture  and  Venetian  paint- 
ing. 

The  first  Venice  with  which  the  traveller  will  have  to 
deal  is  thus  essentially  a  Romanesque= Byzantine  city. 
It  rose  during  the  decay  of  the  Roman  empire,  far  from 
barbaric  influences.  Its  buildings  are  Byzantine  in  type  ; 
its  mosaics  are  mostly  the  work  of  Greek  or  half-Greek 
artists  ;  its  Madonnas  and  saints  are  Greek  in  aspect  ; 
often  even  the  very  lettering  of  the  inscriptions  is  in  Greek 
not  in  Latin.  And  though  ecclesiastically  Venice  belonged 
to  the  western  or  Roman  church,  the  general  assemblage 
of  her  early  saints  (best  seen  in  the  Atrium  and  Baptistery 
of  St.  Mark's)  is  thoroughly  oriental.  We  must  remember 
that  during  all  her  first  great  period  she  was  connected 
by  the  sea  with  Constantinople  and  the  east,  but  cut  off 
by  the  lagoons  and  the  impenetrable  marshes  from  all 
intercourse  with  Teutonised  Lombardy  and  the  rest  of 
Italy.  In  front  lay  her  highway  :  behind  lay  her  moat. 
At  this  period,  indeed,  it  is  hardly  too  much  to  say  that 
(save  for  the  accident  of  language)  Venice  was  rather  a 
Greek  than  an  Italian  city. 

I    strongly  advise    the    tourist,   therefore,   to    begin   by 


I.]  ORIGINS   OF    VENICE  19 

forming  a  clear  conception  of  this  early  Greekish  Venice 
of  the  loth,  nth,  12th,  and  13th  centuries,  and  then  go 
on  to  observe  how  the  later  Italianate  Venice  grew  slowly 
out  of  it.  Mediceval  Italy  was  not  Roman  but  Teutonised  : 
influences  from  this  Teutonic  Italy  were  late  in  affecting 
the  outlying  lagoon-land. 

The  beginnings  of  the  change  came  with  the  conquests 
of  Venice  on  the  Italian  mainland.  Already  Gothic  art 
from  the  west  had  feebly  invaded  the  Republic  with  the 
rise  of  the  great  Dominican  and  P"ranciscan  churches  (San 
Giovanni  e  Paolo  and  the  Frari)  :  the  extension  of  Venice  to 
the  west,  by  the  conquest  of  Padua  and  Verona  (1405)  com- 
pleted the  assimilation.  Thenceforward  the  Renaissance 
began  to  make  its  mark  on  the  city  of  the  lagoons,  though 
at  a  much  later  date  than  elsewhere  in  Italy.  I  recommend 
the  visitor  accordingly,  afier  he  has  familiarised  himself 
with  Byzantine  Venice,  to  trace  the  gradual  encroachment 
of  Gothic  art,  and  then  the  Renaissance  movement.  This 
Guide  is  so  arranged  as  to  make  such  a  task  as  easy  as 
possible  for  him.  But  while  chronological  comprehension 
is  thus  important,  a  strictly  chronological  method  is  here 
for  many  reasons  both  difficult  and  undesirable.  I  have 
tried  rather  to  suggest  a  mode  of  seeing  Venice  which  will 
unfold  the  story  in  the  most  assimilable  order. 

It  is  best,  then,  to  begin  with  the  architecture,  sculpture, 
and  mosaics  of  St.  Mark's;  in  connection  with  which  the 
few  remaining  Byzantine  palaces  ought  to  be  examined. 
The  Byzantine  period  is  marked  by  the  habit  of  sawing 
up  precious  marbles  and  other  coloured  stones,  (imported 
for  the  most  part  from  earlier  eastern  buildings,)  and  using 
them  as  a  thin  veneer  for  the  incrustation  of  brick  build- 
ings ;  also,  by  the  frequent  employment  of  decorations 
made  by  inserting  ancient  reliefs  in  the  blank  walls  of 
churches  or  houses.  The  eastern  conquests  of  Venice 
made  oriental  buildings  a  quarry  for  her  architects.  The 
Gothic  period  is  marked  by  a  peculiar  local  style,  showing 
traces  of  Byzantine  and  Arab  influence.  The  early  Renais- 
sance work  at  Venice  is  nobler  and  more  dignified  than 


20  ORIGINS   OF    VENICE  [l. 

elsewhere  in  Italy.     The  baroque  school  oi  the  17th  century, 
on  the  other  hand,  is  nowhere  so  appalling. 

Venice  was  essentially  a  commercial  Republic.  Her 
greatness  lay  in  her  wealth.  She  flourished  as  long  as 
she  was  the  sole  carrier  between  east  and  west  ;  she 
declined  rapidly  after  the  discovery  of  America,  and  of 
the  route  to  India  round  the  Cape  of  Good  Hope,  which 
made  the  Atlantic  supersede  the  Mediterranean  as  the 
highway  of  the  nations.  As  Antwerp,  Amsterdam,  and 
London  rose,  Venice  fell.  The  reopening  of  the  Mediter- 
ranean route  by  the  construction  of  the  Suez  Canal  has 
galvanised  her  port  into  a  slightly  increased  vitality  of 
recent  years  ;  but  she  is  still  in  the  main  a  beautiful  fossil- 
bed  of  various  strata,  extending  from  the  loth  to  the 
17th  centuries. 

The  rise  and  progress  of  Venetian  painting  will  be 
traced  in  detail  when  we  come  to  consider  the  Academy  ; 
but  its  earliest  origins  and  first  motives  must  be  looked 
for  in  the  ancient  mosaics  of  St.  Mark's  and  of  Murano. 

Whoever  enters  Venice  by  rail  at  the  present  day  ought 
to  bear  in  mind  that  he  arrives  (across  the  lagoon)  by 
the  back  door.  The  front  door  was  designed  for  those 
who  came  by  sea  ;  there,  Venice  laid  herself  out  to  receive 
them  with  fitting  splendour.  The  ambassadors  or  mer- 
chants who  sailed  up  the  navigable  channel  from  the  mouth 
of  the  Lido,  saw  first  the  Piazza,  the  Piazzetta,  the  two 
great  granite  columns,  the  campanile,  St.  Mark's,  and  the 
imposing  fagade  of  the  Doge's  Palace,  reinforced  at  a  later 
date  by  the  white  front  of  San  Giorgio  Maggiore  and  the 
cupolas  of  the  Salute.  This,  though  not  perhaps  the  oldest 
part  of  the  town,  is  the  nucleus  of  historical  Venice ; 
and  to  it  the  traveller  should  devote  the  greater  part  of 
his  attention.  I  strongly  advise  those  whose  stay  is  limited 
nol  to  try  to  see  all  the  churches  and  collections  of  the 
city,  but  to  confine  themselves  strictly  to  St.  Mark's,  the 
Doge's  Palace,  the  Academy,  the  Four  Great  Plague- 
Churches,  and  the  tour  of  the  Grand  Canal,  made  slowly 
in  a  gondola. 


I.]  ORIGINS   OF    VENICE  21 

Those  who  have  three  or  four  weeks  at  their  disposal, 
however,  ought  early  in  their  visit  to  see  Torcello  and 
Murano — Torcello  as  perhaps  the  most  ancient  city  of  the 
lagoons,  still  preserved  for  us  in  something  like  its  antique 
simplicity,  amid  picturesque  desolation  ;  Murano  as  helping 
us  to  reconstruct  the  idea  of  Byzantine  Venice.  It  is  above 
all  things  important  not  to  mix  up  in  one  whirling  picture  late 
additions  like  the  Salute  and  the  Ponte  di  Rialto  with  early 
Byzantine  buildings  like  St.  Mark's  or  the  Palazzo  Loredan, 
with  Gothic  architecture  like  the  Doge's  Palace  or  the  Ca' 
Doro,  and  with  Renaissance  masterpieces,  like  the  Libreria 
Vecchia  or  the  ceilings  of  Paolo  Veronese.  Here  more 
than  anywhere  else  in  Europe,  save  at  Rome  alone,  though 
chronological  treatment  is  difficult,  a  strictly  chrono= 
logical  compreliension  of  the  various  stages  of  growth  is 
essential  to  a  right  judgment. 

Walk  by  land  as  much  as  possible.  See  what  you  see  in 
a  very  leisurely  fashion.  Venice  is  all  detail ;  unless  you 
read  the  meaning  of  the  detail,  it  will  be  of  little  use  to  you. 
Of  course  the  mere  colour  and  strangeness  and  picturesque- 
ness  of  the  water-city  are  a  joy  in  themselves  ;  but  if  you 
desire  to  learn,  you  must  be  prepared  to  give  many  days  to 
St.  Mark's  alone,  and  to  examine  it  slowly. 

I  take  first  the  group  of  buildings  and  works  of  art  which 
cluster  around  the  front-door  of  Venice,  the  Piazza  and  the 
Piazzetta.  These  adequately  represent  the  Byzantine,  the 
Gothic,  and  the  Renaissance  periods.  When  you  have  thus 
familiarised  yourself  with  the  keynotes  of  each  great  style, 
as  locally  embodied,  you  will  be  in  a  position  to  understand 
the  rest  of  Venice. 


The  patron  saints  of  Venice  are  too  numerous  to  cata- 
logue. A  few  only  need  be  borne  in  mind  by  those  who  pay 
but  a  short  visit  of  a  month  or  so.  The  Venetian  fleets  in 
the  early  ages  brought  home  so  many  bodies  of  saints  that 
the  city  became  a  veritable  repository  of  holy  corpses. 
First  and  foremost,  of  course,  comes  St.  Mark,  whose  name, 
whose   effigy,  and  whose  winged  lion  occur  everywhere  in 


22  ORIGINS   OF   VENICE  [i. 

the  city  ;  to  the  Venetian  of  the  middle  ages  he  was  almost, 
indeed,  the  embodiment  of  Venice.  He  sleeps  at  St.  Mark's. 
The  body  of  St.  Theodore,  the  earlier  patron,  never  en- 
tirely dispossessed,  lay  in  the  Scuola  (or  Guild)  of  St,  Theo- 
dore, near  the  church  of  San  Salvatore  (now  a  furniture 
shop).  But  the  chief  subsidiary  saints  of  later  Venice  were 
St.  George  and  St.  Catherine,  patrons  of  the  territories 
of  the  Republic,  to  the  first  of  whom  many  churches  are 
dedicated,  while  the  second  appears  everywhere  in  numerous 
pictures  and  reliefs.  The  great  plague-saints— Sebastian, 
Roch,  Job — I  have  treated  separately  later.  These  seven 
at  least  the  tourist  must  remember  and  expect  to  recognise 
at  every  turn  in  his  wanderings.  The  body  of  St.  Nicholas, 
the  sailors'  saint,  lay  at  San  Niccolo  di  Lido,  though  a  rival 
body,  better  authenticated  or  more  believed  in,  was  kept  at 
Bari. 

The  costume  of  the  Doges,  and  the  Doge's  cap  ;  the 
Venetian  type  of  Justice,  with  sword  and  scales  ;  the  almost 
indistinguishable  figure  of  Venetia,  also  with  sword  and 
scales,  enthroned  between  lions  ;  and  many  like  local 
allegories  or  symbols,  the  visitor  should  note  and  try  to  un- 
derstand from  the  moment  of  his  arrival. 


Though  I  give  the  whole  account  of  St.  Mark's  at  once, 
for  convenience  sake,  I  do  not  advise  the  reader  to  see  it  all 
at  once  and  consecutively.  Begin  with  the  first  parts 
described  in  this  book,  but  intersperse  with  them  visits  to 
the  Academy,  the  Plague  -  Churches,  and  other  buildings. 
St.  Mark's  is  best  seen  in  the  afternoon,  when  you  will  not 
needlessly  disturb  the  worshippers.  The  Academy  closes 
at  3,  and  must  therefore  be  seen  in  the  morning.  Occa- 
sional trips  to  the  Lido,  Chioggia,  etc.,  vary  the  monotony  and 
strain  of  sight-seeing. 


II 
BYZANTINE  VENICE:   ST.   MARK'S 

r'T~^HE  primitive  patron  of  the  town  of  Rivo  Alto,  and 
[_  J^  of  the  Republic  of  the  Venetians,  was  the  martyr 
St.  Theodore,  whose  ancient  figure  still  tops  one  of  the 
columns  in  the  Piazzetta.  A  church  dedicated  to  this 
ancient  saint  is  said  to  have  occupied  (nearly)  the  site  of  St. 
Mark's  before  the  9th  century.  But  in  the  year  819,  (or  813,) 
when  the  seat  of  government  of  the  Republic  was  fixed  in 
Rivo  Alto,  the  first  Doge's  Palace  was  built  on  the  spot 
where  its  successor  now  stands,  and  a  Ducal  Chapel 
was  erected  beside  it.  This  chapel  was  still  in  all  prob- 
ability dedicated  to  St.  Theodore.  The  body  of  St.  Mark, 
however,  was  then  preserved  at  Alexandria ;  though,  after 
the  conquest  of  Egypt  by  the  Arabs  in  640,  the  church  of  St. 
Mark's  in  which  it  was  kept  was  exposed  to  continual  insults 
from  the  victorious  infidel.  In  829,  the  Khalif  decided  to 
destroy  the  church,  for  the  sake  of  its  marbles.  Some  Vene- 
tian merchants  who  happened  to  be  then  at  Alexandria  (a 
proof  of  the  early  maritime  commerce  of  the  town)  succeeded 
in  carrying  off  the  body  of  the  saint,  and  conveying  it  to 
Venice.  On  its  arrival,  it  was  received  in  state  and  housed 
in  the  Ducal  Chapel ;  while,  in  order  to  show  due  honour  to 
the  Evangelist,  St.  Theodore  was  deposed  from  his  place  as 
patron,  and  St.  Mark  was  made  the  tutelary  saint  of  the 
Republic.  The  old  church  of  St.  Theodore  was  also  de- 
stroyed, and  a  new  church  of  St.  Mark's,  the  predecessor  of 
the  present  building,  erected  in  its  place. 

This  first  church  was  burnt  down  in  976,   and   with   it, 
humanly    speaking,    the   body   of    St.    Mark ;    though    its 


24         BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

miraculous  preservation  and  subsequent  rediscovery  are 
matters  of  history.  Towards  the  close  of  the  loth  century, 
the  existing  edifice  was  begun  after  the  fire  :  it  continued 
to  be  erected  under  Byzantine  architects  for  nearly  a  hundred 
years.  The  body  of  the  great  church  as  we  now  see  it  be- 
longs essentially  to  this  early  period.  But  it  has  been 
largely  remodelled  and  altered  in  its  decorations,  especially 
as  regards  the  pinnacles  of  the  exterior  and  the  mosaics, 
during  the  Gothic  reaction.  The  original  portions,  which 
will  be  pointed  out  in  detail  in  the  sequel,  belong  to  the  pure 
Byzantine  style,  and  closely  resemble  parts  of  St.  Sophia 
at  Constantinople,  on  which  edifice  the  church  was  mainly 
modelled.  About  the  close  of  the  14th  and  first  half  of  the 
15th  century,  when  the  Gothic  style  had  superseded  the 
Romanesque  and  the  Byzantine,  several  Oothic  adornments 
were  incongruously  added,  in  the  shape  of  pinnacles  and 
pointed  gables  above  the  chief  arches.  In  the  i6th  century 
and  afterward,  many  of  the  beautiful  old  mosaics  were  ruth- 
lessly destroyed,  and  replaced  by  jejune  Renaissance  com- 
positions, which  have  no  decorative  value,  and  which  jar 
with  the  architecture.  But  as  a  whole  the  church  is  still 
essentially  Byzantine^ Romanesque,  with  only  just  suf- 
ficient intrusion  of  the  Gothic  element  to  add  a  certain  touch 
of  bizarre  extravagance. 

The  walls  are  of  brick,  but  they  are  coated  or  incrusted 
throughout  with  thin  slabs  of  many-coloured  marble  and 
alabaster  ;  the  slender  columns  are  of  jasper,  serpentine, 
verd-antique,  porphyry,  and  other  rare  stones,  mostly  de- 
rived from  earlier  buildings  ;  and  the  whole  is  profusely 
adorned  with  gold  and  mosaic.  To  the  mediseval  Venetian, 
St.  Mark  was  not  only  the  patron  but  the  embodiment  of 
Venice  ;  wherever  the  Venetian  fleets  went,  they  brought 
home  in  triumph  columns  and  precious  stones  and  reliefs 
and  works  of  art  for  the  further  beautifying  of  the  great 
shrine  of  their  protector.  St.  Mark's  is  thus  a  museum  of 
collected  fragments,  as  well  as  a  gallery  of  \^enctian 
mosaic-work.  It?  richness  of  colour  is  one  of  its  greatest 
attractions.  9' 


II.]      BYZANTINE    VENICE:   ST.    MARK'S         25 

Nevertheless,  throughout  the  whole  flourishing  period  of 
Venice,  the  shrine  of  the  Evangelist  was  officially  nothing 
more  than  the  domestic  chapel  of  the  Doge's  Palace. 
The  relatively  unimportant  church  of  San  Pietro  di  Castello 
remained  the  cathedral  till  1807,  at  which  date  St.  Mark's 
superseded  it. 

In  examining  St.  Mark's  remember  especially  three  things. 
First,  it  is  the  shrine  of  the  body  of  St.  Mark  the 
Evangelist,  the  protector  of  the  Republic,  whom  every 
Venetian  regarded  as  the  chief  helper  of  Venice  in  times  of 
trouble.  Second,  it  is  the  private  chapel  of  the  Doge's 
Palace.  Third,  it  is  essentially  an  oriental  building,  as 
befits  what  was  really  an  outlying  western  fragment  of  the 
eastern  empire. 

Very  many  visits  should  be  paid  to  St.  Mark's.  It  would 
be  impossible  within  the  limits  of  these  Guides  adequately 
to  describe  all  the  architectural  points,  the  mosaics,  and  the 
sculpture  ;  but  in  the  succeeding  account  I  have  tried  /irsi 
to  call  attention  to  the  main  features,  and  //len  to  treat 
in  detail  a  few  portions  of  the  building  as  specimens,  giv- 
ing the  reader  some  main  clues  by  means  of  which  he  may 
work  out  the  meaning  of  the  rest  of  the  building  for  himself 
on  similar  principles.  St.  Mark's  is  of  course  by  far  the  most 
important  thing  to  see  at  Venice,  and  as  much  time  as 
possible  should  be  devoted  to  repeated  visits.  Do  not  run 
about  after  minor  churches  before  you  have  thoroughly 
grasped  the  keynotes  of  this  marvellous  building. 

The  motto  of  Venice  is  "  Pax  tibi  Marce,  Evangelista 
mens " — "  Peace  to  thee,  Mark,  my  Evangelist."  It  will 
occur  often  on  buildings  or  pictures. 

Whenever  you  visit  St.  Mark's,  take  your  opera  glass.] 

General  Impression. 

St.  Mark's  is  not  in  mere  size  a  very  large  church  ;  but  it 
is  so  vast,  in  the  sense  of  being  varied  and  complex,  that  it 
can  only  be  grasped  in  full  after  long  study.  I  advise 
you,  therefore,  to  begin  by  walking  round  and  through  the 
building,  in  order  to  obtain  a  comprehensive  idea  of  the 


26        BYZANTINE    VENICE:   ST.    MARK'S     [n. 

architectural  groufid-plafi,   both   from  without  and  within, 
before  you  proceed  to  the  examination  in  detail. 

In  general  shape,  as  shown  in  the  annexed  rough  dia- 
gram, the  church  is  a  Greek  Cross,  of  four  equal  arms,  duly 
oriented;  that  is  to  say,  with  its  facade  to  the  West,  and 


D 


ATRIUM      'tn^ 

GENERAL    DIAGRAM   OF   ST.    MARK'S. 
The  True  Church  or  Greek  Cross  is  marked  by  a  darker  outline. 

its  High  Altar  and  Presbytery  at  the  East  End.  Carefully 
bear  in  mind  this  fact  of  its  orientation  ;  it  will  save  you 
much  trouble. 

In  addition,  however,  to  the  real  or  Inner  church, 
which  has  thus  the  shape  of  a  cross  with  four  equal  arms, 
the  West  Arm  is  girt  on  its  three  outer  sides  by  an  Atrium 
or  Vestibule,  which  reaches  only  to  the  height  of  the  first 
floor  or  Gallery.  This  Atrium  is  open  in  its  Western  and 
Northern  branches,  and,  like  the  church  itself,  is  gorgeously 
decorated  throughout  with  mosaics.  The  Southern  branch 
of  the  Atrium,  on  the  other  hand,  has  been  enclosed,  in 
order  to  form  the  Baptistery  and  the  Cappella  Zen.  This 
outer  Vestibule,  with  the  parts  cut  off  from  it,  is  shown  in 
the  diagram  by  a  thinner  line.     Recollect  that  the  lower 


II.]      BYZANTINE    VENICE:   ST.    MARK'S        27 

part  of  the  facade,  on  all  three  of  its  exposed  sides,  is 
formed  entirely  by  this  outer  or  vestibular  portion  ;  the 
upper  facade,  on  the  contrary,  belongs  to  the  Greek  Cross, 
or  true  church  of  the  interior.  Hats  may  be  worn  in  the 
Vestibule. 

Above  the  Atrium,  and  around  the  whole  western  arm  of 
the  inner  church,  runs  an  outer  gallery.  On  this  gallery, 
over  the  Main  Portal  of  the  outer  and  lower  faqade,  stand 
four  magnificent  antique  *  Bronze  Horses,  forming  a 
quadriga,  or  team  of  four,  for  a  chariot.  These  horses  are 
so  important  in  fixing  the  date  of  various  portions  of  the 
church,  that  I  will  briefly  describe  them  here.  They  make 
the  only  known  remaining  example  of  an  ancient  quadriga, 
and  opinions  differ  as  to  their  date  and  origin.  They  are 
believed  by  some  antiquaries  to  be  Greek  works  of  the  school 
of  Lysippus,  but  others  hold  that  they  are  of  Roman  origin. 
It  is  almost  certain  that  they  once  adorned  the  triumphal 
arch  of  Nero,  whence  they  were  transferred  to  that  of 
Trajan  and  other  subsequent  emperors.  When  Constantine 
founded  Constantinople,  he  took  them  there  to  adorn  the 
Hippodrome  of  his  New  Rome.  In  1204,  Doge  Enrico  Dan- 
dolo  conquered  Constantinople,  and  the  Podestk  Zen  sent 
these  trophies  to  Venice,  where  they  were  set  up  on  the  Ducal 
Chapel  in  the  place  where  you  now  see  them.  This  date  of 
1204  is  very  important  for  the  identification  of  the  period  of 
certain  mosaics.  The  horses  remained  where  Dandolo  set 
them  up  till  1797,  when  Napoleon,  having  extinguished  the 
Republic,  took  them  to  Paris,  and  employed  them  to  decor- 
ate the  summit  of  the  triumphal  arch  he  had  erected  in  the 
Place  du  Carrousel.  In  181 5,  however,  on  the  final  establish- 
ment of  the  European  peace,  the  Emperor  Francis  I .  of 
Austria,  to  whom  Venetia  was  assigned,  restored  them  to 
St.  Mark's.  They  are  noble  specimens  of  ancient  sculpture, 
though  defectively  cast,  portions  having  been  hammered  in 
to  conceal  the  imperfections.  They  should  be  carefully 
examined,  from  above  and  from  below,  by  those  who  are 
interested  in  antique  sculpture.  An  ugly  inscription  on  the 
main  archivolt  of  the  central  door  beneath  records,  not  their 


28        BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

early  history,  but  the  trivial  fact  of  their  restitution  by  the 
Austrians. 

The  inner  or  true  church  itself  consists  of  four  nearly 
equal  Arms  and  a  rectangular  Central  Portion.  Over  each 
Arm,  and  also  over  the  Central  Portion,  stands  a  Dome,  of 
which  there  are  thus  five  in  all,  without  counting  the  minor 
cupolas.  I  strongly  advise'  you  to  enter  the  church  on  your 
first  day  in  Venice,  and  spend  one  afternoon  in  looking  about 
it,  so  as  to  form  general  impressions,  before  you  set  out 
upon  your  detailed  examination.  The  following  brief  notes 
may  assist  you  in  shaping  these  impressions. 

The  West  Arm  consists  of  a  Nave  and  Aisles,  the  latter 
separated  from  the  former  by  glorious  Byzantine  arcades, 
carrying  an  open  gallery.  The  Nave  has  a  Dome,  and  two 
large  Arches  span  its  outer  and  inner  ends.  It  is  entered 
from  the  Vestibule  by  the  Door  of  St.  Mark.  The  L.  or  N. 
Aisle  is  entered  from  the  Vestibule  by  the  Door  of  St.  Peter, 
who,  as  we  shall  see  hereafter,  was  regarded  as  St.  Mark's 
spiritual  father.  The  R.  or  S.  Aisle  is  entered  from  the 
Vestibule  by  the  Door  of  St.  Clement.  Each  of  these  doors 
has  above  it,  externally,  a  mosaic  of  the  saint  whose  name  it 
bears. 

The  Central  Area  has  a  Dome  covered  with  ancient 
mosaics.  To  R.  and  L.,  at  its  East  End,  are  two  magnifi- 
cent early  Pulpits,  or  ambones.  A  Screen  topped  by  four- 
teen statues  separates  it  from  the  choir  or  Presbytery. 

The  Transepts,  like  the  Nave,  are  provided  with  Aisles, 
which  are  separated  from  the  main  portion  of  each  Transept 
by  arcades  carrying  open  galleries.  These  galleries  answer 
to,  or  foreshadow,  the  Triforium  of  Northern  cathedrals. 

The  N.  or  L.  Transept  has  a  Dome,  also  covered  with 
mosaics.  It  is  approached  trom  the  N.  branch  of  the  Vesti- 
bule by  the  Door  of  St.  John.  Its  East  End  forms  a 
separate  Chapel,  formerly  dedicated  to  St.  John,  but  now 
to  the  Madonna.  The  little  Chapel  at  the  end  of  the 
W.  Aisle  of  this  Transept  is  that  of  the  Madonna  dei 
Mascoli. 

The  ..S".  or  R.   Transept  has  also  a  Dome,  with  very  few 


II.]       BYZANTINE    VENICE:   ST.    MARK'S         29 

mosaic  figures.  Its  East  End  contains  the  Chapel  of  the 
Holy  Sacrament,  where  the  Host  is  exposed,  with  a  light 
continually  burning  before  it.  This  was  formerly  the 
Chapel  of  St.  Leonard. 

The  East  Arm  of  the  cross  consists  of  three  portions, 
each  with  an  Apse  at  its  extremity. 

The  Central  Part  of  the  E.  End,  behind  the  Screen  bear- 
ing the  fourteen  mediaeval  statues,  is  the  Presbytery. 
It  contains  the  High  Altar,  covered  by  a  rich  canopy,  which 
is  supported  by  four  curiously-sculptured  columns.  Under 
this  High  Altar  rests  the  Body  of  St.  Mark,  to  whom  the 
whole  church  is  dedicated.  In  the  semicircular  A^se  at  the 
back  is  another  altar,  that  of  the  Holy  Cross. 

The  Apsidal  Chapel  to  the  L.  of  the  Presbytery  is  that  of 
St.  Peter.  The  Apsidal  Chapel  to  the  R.  of  the  Presbytery  is 
that  of  St.  Clement.  Each  is  approached  by  a  small  vesti- 
bule or  ante-chapel. 

Do  not  attempt  to  fix  all  these  points  at  once  in  your 
memory,  but  endeavour  to  gain  at  first  sight  as  clear  a  con- 
ception as  you  can  of  the  four  main  arms  of  the  church, 
with  their  aisles  or  side-chapels.  Remember  that  the  whole 
building  falls  into  five  main  portions — the  Centre,  and  the 
North,  South,  East,  and  West  branches,  each  marked  by 
its  own  Dome.  Other  points  will  become  clearer  in  the 
sequel. 

I  do  not  think  it  well  for  the  visitor  to  attempt  to  grasp  the 
general  scheme  of  the  decoration  till  after  he  has  ex- 
amined much  of  the  church  in  detail.  I  therefore  postpone 
the  consideration  of  the  meaning  and  relation  of  the  various 
parts  till  we  have  inspected  together  many  of  the  mosaics  and 
sculptures.  Those  however  who  prefer  to  understand  these 
leading  principles  beforehand,  and  to  use  them  as  a  clue  on 
their  way,  will  find  them  on  page  76. 

Fuller  information  about  St.  Mark's  as  a  whole  will  be 
found  in  Canon  Pasini's  Guide  de  la  Basiliqtie  St.  Marc :  an 
admirable  account  of  the  mosaics  is  given  in  Com.  Sac- 
cardo's  Les  Mosaiqites  de  St.  Marc.  Both  books  can  be 
procured  at  Ongania's  in  the  Piazza  (S.  W.  corner). 


30         BYZANTINE    VENICE:   ST.    MARK'S       [ii. 

The  Exterior. 

Begin  your  detailed  examination  of  the  exterior  with  the 

West  Front 

or  Main  Fagade.  The  best  time  to  examine  this  fagade  is 
towards  sunset  on  a  bright  afternoon,  when  it  glistens  in  the 
full  rays  of  the  sun,  All  the  detail  is  then  better  seen.  If 
you  cannot  obtain  such  an  afternoon  for  your  first  examina- 
tion, go  over  the  whole  again  whenever  such  occurs. 

Start  first  with  the  lower  portion,  or  false  fagade  formed 
by  the  Atrium. 

Set  out  by  taking  a  seat  at  the  base  of  the  northernmost 
Flag-Staff ,  the  one  close  to  the  gilded  Clock-Tower  with  the 
big  clock.  Here  you  will  observe  that  the  lower  stage  con- 
sists of  five  large  arches,  flanked  by  two  much  smaller  and 
irregular  ones.  The  central  arch  is  higher  than  the  others,  so 
that  it  impinges  upon  the  terrace  below  the  four  Bronze 
Horses.  Its  lunette  is  filled  by  a  late  and  intensely  feeble 
mosaic  of  the  Last  Judgment  ( 1 836).  The  remaining  lunettes 
contain  the  history  of  the  removal  of  the  body  of  St.  Mark 
from  Alexandria  to  Venice.  Though  (with  one  glorious  ex- 
ception) late,  and  artistically  of  little  interest,  these  mosaics, 
unhappily  substituted  for  the  fine  early  ones,  should  be  ex- 
amined in  detail  as  embodying  the  legend  of  the  foundation 
of  this  church. 

The  series  begins  to  the  right,  ist  Arch  (R.)  on  the 
under-side  of  the  arch  itself,  the  body  of  St.  Mark  removed 
from  his  church  in  Alexandria  ;  (L.)  it  is  placed  in  a  basket 
and  covered  with  leaves  ;  (centre  lunette)  the  authorities 
examine  it,  but  being  told  that  it  is  pork,  withdraw  in  aver- 
sion :  all  of  1660.  ind  Arch  (R.)  under-side,  the  arrival  of  the 
body  at  Venice  on  the  Venetian  ship  ;  (centre  lunette)  it  is 
received  at  the  quay  with  religious  processions  ;  (L.)  the  body, 
on  a  bier,  is  carried  ashore  at  Venice  :  all  of  1660.  ^rd 
Arch,  beyond  the  great  doorway  :  Reception  of  the  body 
in  state  by  the  Doge  and  Senators  ;  a  finely-coloured  work 
of  the  1 8th  century,  designed  by  Rizzi,  but  inappropriate 
for  its  place,      ^th  Arch,**  a  magnificent  early  13th-century 


II.]      BYZANTINE    VENICE:   ST.    MARK'S        3I 

mosaic,  representing  the  Church  of  St.  Mark  into  which  the 
body  is  brought.  Examine  it  closely  to  show  the  state  of  the 
church  at  that  date.  The  central  lunette  above  the  great 
doorway,  you  can  see,  was  then  worthily  occupied  by  a 
colossal  Byzantine  figure  of  Christ.  Beneath  this  figure,  two 
ecclesiastics  bear  the  sacred  body  on  a  bier  into  the  church  ; 
around  stand  princes  and  people,  symbolising  perhaps  the 
various  kings,  queens,  and  distinguished  persons  who  have 
visited  the  shrine  since  the  reception  of  the  Evangelist's  body 
at  Venice.  All  the  mosaics  of  the  facade  were  once  of  this 
type  :  the  i6th  century,  in  its  pride  of  accurate  drawing 
and  perspective,  replaced  them  by  the  present  insipid  substi- 
tutes. You  can  see  copies  of  the  originals  in  the  great 
Bellini  picture  at  the  Academy. 

Now,  sit  again  at  the  base  of  the  Flag-Stafif  as  before,  and 
with  an  opera-glass  compare  the  13th-century  church  (in 
the  mosaic)  with  the  existing  edifice,  looking  from  one  to  the 
other.  This  will  enable  you  to  see  how  much  of  it  is  primi- 
tive Byzantine-Romanesque,  and  how  much  is  Gothic  ad- 
dition. There  were  then  no  pinnacles  or  gables.  Observe 
that  the  four  Bronze  Horses  were  already  in  their  place, 
which  fixes  the  date  of  this  mosaic  as  shortly  after  1204. 

Next  take  a  seat  at  the  base  of  the  central  Flag=Staff, 
and  observe  six  reliefs,  let  into  the  walls  of  the  lower  fagade, 
between  the  arches.  The  two  to  L.  and  R.  of  the  main  door- 
way, respectively,  represent  the  two  warrior  saints  and 
protectors  of  Venice,  George  and  Theodore,  seated  on  cross- 
legged  stools  or  thrones  :  early  13th-century  sculpture. 
The  two  next  represent  (L.)  the  Madonna,  with  her  arms 
expanded  in  the  Byzantine  fashion,  and  her  Greek  mono- 
gram, "  Mother  of  God"  ;  (R.)  the  angel  Gabriel  bearing  a 
wand  or  narthex.  These  two  form  between  them  an 
Annunciation,  separated,  as  is  often  the  case,  by  wide 
spaces  :  12th  to  13th  century  sculpture.  The  two  last, 
at  either  end,  are  antique  or  semi-antique,  and  represent  two 
of  the  Labours  of  Hercules  ;  they  are  probably  not  later  than 
the  6th  century. 

Taking  the  lower  fagade  in  further  detail,  you  observe,  to 


32         BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

the  extreme  L.  a  small  portico,  with  a  stilted  arch,  contain- 
ing a  beautiful  decorative  design  of  birds  facing  one  another. 
(See  Goblet  D'Alviella's  Migration  of  Symbols.)  It  is  sup- 
ported below  by  one  lily-capitalled  column,  the  columns 
above  being  more  numerous,  as  is  usual  at  St.  Mark's  and 
in  Byzantine  architecture  generally,  thus  giving  a  tree-like 
effect  of  trunk  and  branches.  The  upper  columns  of  this 
portico  are  of  porphyry.  Between  the  two  to  the  R.  is  a  water- 
bearer.  Proceeding  S.,  towards  the  Piazzetta,  notice  in  the 
ist  doorway  you  reach,  beneath  the  13th-century  mosaic 
of  the  church,  a  beautiful  arch  with  an  Archangel  on  horse- 
back (Rev.  xix.  II?).  Below  it  are  the  symbols  of  the  four 
Evangelists,  in  the  following  order  :  Luke,  bull  ;  Mark,  lion  ; 
John,  eagle  ;  Matthew,  angel.  This  order  is  common  in 
Venice.  Beneath  the  exquisite  lattice-work  is  a  lintel,  with 
scenes  from  the  Life  of  Christ,  very  obscure,  the  most  de- 
cipherable being  the  Adoration  of  the  Magi,  the  Annunciation 
to  the  Shepherds,  and  the  miracle  at  Cana  :  at  either  end,  a 
deacon  with  a  censer.  Observe  in  detail  the  extraordinary 
variety  of  the  columns  and  their  capitals  in  this  doorway.  The 
2nd  doorway  is  square  in  general  outline,  with  similarly 
decorated  columns,  and  a  centre  resembling  jewel -work. 
The  3rd  doorway  contains  the  main  portal.,  flanked  on 
either  side  by  a  singularly  beautiful  group  of  columns.  In 
the  lunette  immediately  above  the  square  door  is  a  relief  of 
an  angel  and  a  sleeping  Evangelist.  It  probably  represents 
the  legend  that  as  St.  Mark  was  passing  the  lagoon,  on  his 
way  from  Aquileia  to  Alexandria,  an  angel  notified  to  him  in 
a  dream  that  his  Basilica  would  be  erected  on  this  spot. 
(The  legend  here  described  will  be  more  fully  illustrated 
hereafter  in  the  Cappella  Zen.)  The  \st  archivolt  above 
this  figure  is  decorated  with  grotesques  of  the  13th 
century,  apparently  meaningless.  The  2nd  archivolt  has  on 
its  under  surface  the  twelve  months,  (with  zodiacal  signs,) 
thus  represented,  from  L.  to  R.  :  January,  carrying  home  a 
tree  ;  February,  warming  his  feet,  with  the  fishes  ;  March,  a 
warrior  (Martius)  with  the  ram  ;  April,  carrying  a  sheep, 
with  the  bull ;  May,  seated,  and  crowned  with  flowers  by  two 


II.]       BYZANTINE    VENICE:   ST.    MARK'S        33 

maidens,  with  the  heads  of  the  twins  ;  June,  reaping,  with 
the  crab  :  in  the  keystone,  Christ  enthroned  in  the  firmament 
as  ruling  the  seasons  :  then,  July,  mowing  ;  August,  taking 
a  siesta,  with  the  virgin  ;  September,  the  vintage,  with 
the  scales  ;  October,  digging  ;  November,  catching  birds  ; 
December,  killing  pigs.  On  the  outside  are  8  Beatitudes, 
Religion,  and  7  Virtues  (3  theological,  and  4  cardinal).  The 
mam  or  yd  aninvolt,  surrounding  the  mosaic  of  the  Resur- 
rection, has  on  its  under  surface  the  handicrafts  of  Venice, 
reading  thus  from  R.  to  L.  :  the  Fishermen,  the  Smith,  the 
Sawyer,  the  Woodcutter,  the  Cooper  or  Cask-maker,  the 
Barber-Surgeon,  the  Weaver ;  in  the  keystone,  Christ  the 
Lamb  ;  the  Mason,  the  Potter,  the  Butcher,  the  Baker,  the 
Vintner,  the  Shipwright  ;  and  last  of  all,  in  a  di  fFerent  style, 
a  doubtful  figure  with  crutches,  which  may  represent  old  age, 
or,  lest  any  class  he  left  out,  the  cripples  and  the  helpless. 
The  outer  surface  of  this  archivolt  contains  eight  Prophets 
with  scrolls,  among  exquisite  foliage  of  acanthus  and  ball 
pattern.  The  next  or  4th  doorway  resembles  the  and,  but 
has  a  fine  bronze  gate  with  heads  in  relief  The  last  or 
5th  doorway  has  decorative  work,  and  very  beautiful 
capitals  to  some  of  its  columns.  I  defer  consideration  of  the 
little  portico  on  the  extreme  R,,  till  after  we  have  examined 
the  northern  fa<^ade. 

Now  step  back  into  the  Piazza  and  look  at  the  upper  or 
true  facade,  above  the  Gallery  of  the  Four  Horses.  Its 
central  arch  is  filled  by  one  great  window.  The  other  4 
arches  contain  four  late,  weak,  and  uninteresting  mosaics 
(17th  century)  from  the  History  of  Christ  after  the  Crucifixion. 
Unlike  the  series  of  the  Translation  of  St.  Mark,  they  read 
from  L.  to  R.  \st  lunette,  the  Descent  from  the  Cross  ;  ind 
lunette,  Christ  in  Hades  delivering  Adam  and  Eve  and  the 
Patriarchs  ;  yd  lunette,  the  Resurrection  ;  i,tJi  lunette,  the 
Ascension.  All  these  mosaics,  with  those  of  the  lower 
lunettes  beneath  them,  replace  two  sets  of  four  finer  early 
compositions,  of  which  one  only  (that  of  the  Byzantine 
church)  now  remains  to  us.  Observe  the  decorative 
superiority  of  this  last,  and  its  suitability  to  the  architecture 

G.  V.  C 


34         BYZANTINE    VENICE:    ST.    MARK'S        [ii. 

it  adorns.  Between  these  lunettes  are  functionally  useful 
figures  of  water-carriers  with  rain-spouts,  probably  symbolis- 
ing the  Four  Rivers  of  Paradise. 

So  far  the  main  fabric  of  the  fagade  represents  the  original 
Byzantine-Romanesque  building,  (except  in  so  far  as 
the  mosaics  have  been  altered,)  and  corresponds  with  the  pic- 
ture of  the  church  given  in  the  13th  century  mosaic.  The 
turreted  pinnacles  and  false  gables  above  are  later  Qotliic 
additions  of  the  15th  century.  The  false  gables  stand  over 
the  centre  of  the  main  arches,  and  are  mere  thin  screens  of 
decoration,  with  no  roof  behind  them.  Examine  them  all  in 
order. 

On  the  topmost  gable  of  all,  in  the  very  centre,  stands 
St.  Mark  himself,  bearing  his  Gospel,  in  the  place  of  honour 
as  patron  saint  of  this  church.  Below  him,  on  either  side, 
are  three  angels,  with  gilt  metal  wings,  in  veneration,  among 
rampant  foliage.  The  uppermost  pair  swing  censers.  The 
2nd  pair  hold  holy-water  vessels  and  sprinklers.  The  3rd 
pair  have  their  arms  folded  in  adoration  of  the  Evangelist. 
Beneath  them,  on  a  blue  firmament  set  with  golden  stars,  is 
the  gilt  emblem  of  the  Evangelist,  the  winged  lion,  holding 
a  book  inscribed  with  the  Venetian  motto,  Pax  tibi,  Marce, 
evangelista  metis,  words  spoken  to  him  from  heaven  at  this 
spot  on  his  way  from  Aquileia.  The  four  other  gables, 
above  the  centres  of  the  arches,  have  statues  of  four  great 
warrior  saints  of  Christendom,  emblematic  of  the  position  of 
Venice  as  champion  of  the  faith  against  the  Infidel  in  the 
east — a  point  of  great  importance  at  the  period  when  these 
Gothic  additions  were  made  to  the  primitive  building.  The 
two  nearest  St.  Mark  are  (L.)  St.  George,  with  the  red-cross 
shield,  and  the  dragon,  above  the  mosaic  of  Christ  in  Hades  ; 
and  (R.)  St.  Theodore  with  his  dragon,  above  the  Resurrec- 
tion. These  are  the  two  subsidiary  patrons  of  the  Republic. 
To  the  extreme  left,  above  the  Deposition,  stands  (I  think' 
St.  Proculus,  holding  a  banner  ;  to  the  extreme  right,  St. 
Demetrius.  (Perhaps  St.  Demetrius,  L.,  and  St.  Procopius 
or  St.  Mercurius,  R.)  All  are  armed  with  gilt-tipped 
spears.     Beneath  each  figure  half-lengths  of  four  Prophets, 


II.]       BYZANTINE    VENICE:   ST.    MARK'S        35 

holding  rolls  of  their  prophecies,  emerge  among  rampant  and 
rather  flamboyant  foliage. 

The  intervals  between  the  gables  are  filled  up  by  six 
little  turrets,  or  canopied  pinnacles.  Of  these  the  one  to 
the  extreme  left  contains  the  Archangel  Gabriel  kneeling  ; 
the  one  to  the  extreme  right,  the  Blessed  Virgin,  praying 
at  a  prie-dieu.  These  two  form  together  an  Annunciation. 
The  four  central  turrets  contain  statues  of  the  Evangelists 
with  their  symbols,  in  the  following  order  from  L.  to  R.  : 
Matthew,  angel  ;  Mark,  lion  ;  John,  eagle  ;  Luke,  bull. 
Our  Lady's  pinnacle  alone  is  distinguished  by  spiral  shafts 
to  its  columns. 

North   Front. 

Now,  proceed  round  the  corner  furthest  from  the  lagoon, 
into  the  little  Piazzctta  dei  leoni,  so  called  from  the  two 
squat  and  stumpy  red  marble  lions  which  guard  its  entrance  : 
they  were  placed  here  by  Doge  Alvise  Mocenigo  in  the 
1 8th  century. 

As  before,  examine  first  the  lower  or  false  facade,  begin- 
ning at  the  further  end  of  the  little  Piazza,  near  the  Patri- 
archal [Archiepiscopal]  Palace. 

The  first  great  arch  has,  to  its  R.  and  L.,  reliefs  of  the 
Archangels  Michael  and  Gabriel  (Raphael  comes  later). 
Beneath  it  stands  the  monument  of  Daniele  Manin,  Dictator 
of  the  abortive  Republic  of  1848. 

Round  the  first  corner  is  a  colossal  figure  of  St.  Chris- 
topher, bearing  the  infant  Christ.  Observe  the  beautiful 
decorative  work  throughout  this  portion  of  the  building. 
Here  and  elsewhere  the  marble  slabs  should  be  closely 
noted.  The  little  facade  to  the  left  of  the  open  door  into 
the  church  has,  on  the  lowest  tier,  a  relief  of  St.  Leonard 
(from  his  altar  within)  ;  above  it,  Our  Lady,  in  the  Greek 
fashion,  with  adoring  angels  ;  higher  still  a  decorative  relief 
of  animals  with  foliage  ;  and  then,  the  Evangelists  St.  John 
and  St.  Matthew,  on  either  side  of  a  figure  of  Christ  with 
his  Greek  monogram. 

The  main  north  facade,  which  commences  beyond  this 


36        BYZANTINE    VENICE:   ST.    MARK  S       [ii. 

angle,  contains,  first,  a  Gothic  doorway,  known  as  the 
Porta  dei  Fiori.,  somewhat  Cairene  (or  Alexandrian)  in  type. 
In  its  lunette  is  an  early  relief  of  Our  Lady  and  St.  Joseph 
with  the  Divine  Child,  represented  as  of  superhuman  size, 
with  the  ox  and  ass  and  adoring  angels.  Above  it,  in  the 
arch,  St.  John  the  Evangelist ;  on  either  side,  St.  Luke  and 
St.  Mark.  The  next  arch  has  only  decorative  work  ;  note 
the  capitals  of  the  columns,  and  their  superposition  in  the 
order  of  three  to  two.  Between  this  arch  and  the  next 
is  an  ancient  relief  of  Abraham's  Sacrifice ;  to  the  L., 
Abraham  and  Isaac  on  their  way  to  the  mount  ;  to  the 
R.  Abraham  ready  to  slay  Isaac,  but  prevented  by  the  Lord, 
as  a  hand  emerging  from  a  cloud  ;  in  the  centre,  the  ram 
caught  by  its  horns.  The  corresponding  place  between 
the  next  arches  is  occupied  by  what  I  take  to  be  a  Pagan 
relief  of  oriental  origin,  explained  by  the  Venetian  archaeo- 
logists as  Cybele  drawn  by  lions,  but  more  probably  of 
remote  eastern  origin,  possibly  Buddhist.  (A  learned  friend 
says,  Alexander  lifted  by  griffons  to  examine  the  heavens. 
If  so,  coloured  by  Buddhism.)  The  arch  beyond  it  has 
an  early  symbolical  Greek  relief  of  the  12  Apostles  as 
12  sheep,  flanked  by  palm  trees.  In  the  centre  the 
Lamb  and  the  cross  enthroned.  (This  is  the  mystic  subject 
known  as  "  The  Preparation  of  the  Throne "  for  the  Last 
Judgment.)  The  Greek  inscriptions  are,  "  The  Holy 
Apostles,"  "  The  Lamb."  The  last  relief  is  that  of  the 
Archangel  Raphael,  concluding  the  series  of  Archangels 
begun  at  the  opposite  end  of  the  faqade. 

The  upper  or  true  facade  has  mostly  decorative  work  in 
coloured  marble  in  its  arches.  The  Gothic  additions  con- 
sist of  false  crocketed  gables  with  figures  of  Faith  (cross 
and  cup),  Hope  (clasped  hands).  Charity  (bearing  a  child), 
Temperance  (with  cup  and  flagon),  and  Prudence  :  the 
Theological  Virtues  and  two  Cardinal,  7iot  in  this  order  : 
the  other  two  Cardinal  are  on  the  south  front.  The  figures 
under  the  canopied  pinnacles  are  St.  Michael  the  Arch- 
angel and  the  four  Latin  Doctors,  St.  Gregory,  St.  Ambrose, 
St.  Augustine,  and  St.  Jerome,  as  interpreters  of  the  four 


ir.]      BYZANTINE    VENICE:  ST.    MARK'S        37 

Evangelists.     (Jerome  bears  a  church  to  the  extreme  L.     I 
cannot  myself  discriminate  any  symbols  of  the  others.) 

South   Front. 

The  little  portico  forming  part  of  the  West  and  South 
Fronts  is  one  of  the  most  beautiful  elements  of  the  edifice, 
architecturally  speakmg.  All  its  columns  and  capitals 
should  be  carefully  examined.  There  is  a  reason  for  its 
special  decoration.  It  is  the  most  noticeable  portion  of 
the  building,  turned  towards  the  Piazza,  the  sea,  and  the 
Doge's  Palace,  and  on  it  the  greatest  pains  have  accordingly 
been  lavished.  The  shafts  and  capitals  of  its  columns  are 
exquisitely  beautiful.  The  short  red  pillar,  without,  near 
its  outer  angle,  is  the  Sacred  Stone  of  Venice,  the  Pietra 
del  Bando^  from  which  the  laws  of  the  Republic  were  pro- 
claimed. 

TheyfA'.y/  arch  of  the  lower  facade  as  we  proceed  towards 
the  Doge's  Palace,  contains  two  griffons,  with  a  calf  and  a 
child  respectively  in  their  paws.  (The  ugly  Renaissance 
pediment  between  them,  forming  the  back  of  an  altar  within, 
harmonises  ill  with  the  architecture  about.)  A  little  beyond, 
and  further  out  into  the  Piazza,  stand  two  square  Greek 
pillars,  brought  from  the  church  of  St.  Saba  at  Ptolemais 
(St.  John  of  Acre)  in  1256  by  Lorenzo  Tiepolo  as  a  trophy 
of  his  victory  over  the  Genoese.  They  are  covered  with 
fine  decorative  work  and  Greek  monograms.  The  Latin 
crosses  below  were  cut  on  them  at  Venice. 

The  upper  or  true  facade  in  this  portion  is  the  richest 
in  ornament  of  the  entire  building.  Its  tiuo  great  arches 
are  filled  with  elaborate  pierced  screen-work.  In  the  minor 
central  arch  is  a  famous  and  specially  revered  mosaic  of 
the  Madonna,  before  which  two  lamps  are  nightly  lit. 
Beneath  the  base  of  the  two  canopies  are  mosaics  of  St. 
Christopher  with  a  child,  and  St.  Nicholas  of  Myra.  The 
Gothic  additions  have,  on  the  gables,  Justice,  with  the 
sword  and  scales,  and  Fortitude,  tearing  open  the  lion's 
mouth.  These  conclude  the  series  of  Virtues  (three  Theo- 
logical and  four  Cardinal)  begun   on   the   North   Fagade. 


38       BYZANTINE    VENICE:   ST.    MARK'S       [ii. 

Under  the  canopied  pinnacles  are  the  two  first  anchorites 
(R)  St.  Anthony  and  (L)  St.  Paul  the  Hermit.  Study  the 
whole  of  this  fagade  in  detail  carefully. 

The  projecting  angle  towards  the  Doge's  Palace  also 
forms  a  portion  of  St.  Mark's,  being  the  outer  wall  of  the 
Treasury.  Its  time-stained  marble  coating  retains  more  of 
the  antique  aspect,  unspoiled  by  restoration,  than  the  re- 
mainder of  the  building.  At  the  angle  is  a  curious  "^porphyry 
relief  of  four  figures  embracing  one  another  in  pairs,  about 
which  many  idle  tales  are  told,  but  of  whose  origin  and 
meaning  nothing  definite  is  known.  They  are  Greek  in 
workmanship,  and  probably  came  from  Ptolemais.  Into 
the  chief  portion  of  the  wall  between  them  and  the  main 
doorway  of  the  Doge's  Palace  (the  Porta  deJla  Carta)., 
several  decorative  reliefs  have  been  let  into  the  wall. 
Especially  beautiful  are  two  to  the  R.,  with  decorative  trees 
between  *griffons  and  *peacocks,  as  well  as  one  to  the  L. 
divided  crosswise  into  four  panels. 

The  rest  of  the  exterior  of  St.  Mark's  is  for  the  most 
part  hidden  by  the  Doge's  Palace  and  other  buildings. 

Interior. 
The  examination  of  the  interior  is  best  made  by  beginning 

with  the 

Atrium, 

the  mosaics  of  which  are  amongst  the  earliest  and  finest  in 
the  building. 

Enter  by  the  Main  Central  Door  of  the  West  Front  or 
Principal  Fagade.  Its  outer  gate  is  of  bronze,  with  lions' 
heads.  Facing  you  as  you  enter  it  is  the  Inner  Doorway, 
in  whose  lunette  is  a  fine  Renaissance  mosaic  figure  of  St. 
Mark,  of  1545,  after  a  cartoon  by  Titian.  Beneath  this,  in 
exquisite  Byzantine  niches,  are  *mosaics  of  Our  Lady  and 
six  Apostles  as  follows  : — Andrew,  Thomas,  Peter,  Paul, 
James,  Simon  ;  and,  without  niches,  Philip  and  Bartholo- 
mew, less  ancient.  Under  them,  on  either  side  of  the  door, 
come  the  four  Evangelists,  named,  and  with  a  rhyming 
leonine  Latin  inscription. 


i:.]        BYZANTINE    VENICE:   ST.    MARK'S         39 

Now,  proceed  to  the  R.  to  the  first  (or  furthest)  cupola, 
next  to  the  Cappella  Zen.  The  splendid  series  of  mosaics 
which  form  the  main  subject  of  the  Atrium,  begins  here. 
They  contain  the  Old  Testament  history,  down  to  the  time 
of  Moses,  treated  with  charming  and  childish  naivete.  The 
earliest  date  from  12 10,  but  those  of  the  further  (or  N.) 
portion  are  somewhat  later  in  type. 

Seating  yourself  on  the  low  red  seat  between  the  two 
doors  which  give  towards  the  Piazza,  look  up  at  the  cupola. 
It  contains  the  history  of  the  Creation.  Figures  in  white, 
varying  in  number,  symbolise  the  days.  \\st  tier.,  top  or 
centre  :]  i.  The  Spirit  of  God  moves  upon  the  face  of  the 
waters.  2.  The  Lord  creates  light  and  darkness,  with  the 
First  Day.  3.  The  Lord  makes  a  firmament,  with  Second 
Day.  4.  The  Lord  divides  the  waters  above  from  the 
waters  below.  5.  The  Lord  makes  dry  land  and  plants, 
with  Third  Day,  \2iid  tier^  i.  The  Lord  makes  lights  in 
the  firmament  of  heaven,  symbolised  by  a  starry  globe 
bearing  the  sun  and  moon.  2.  The  Lord  makes  birds  and 
fishes.  3.  The  Lord  makes  living  things.  The  angel-like 
figures^  symbolise  still  the  number  of  the  days.  4.  The 
Lord  creates  the  quadrupeds.  (Cross  over  to  the  other 
side  to  see  the  remainder  better.)  5.  The  Lord  makes 
man  as  a  small  dark  red  figure,  not  yet  living.  6.  *The 
Lord  rests  on  the  seventh  day  and  blesses  it.  The  six 
days  of  the  week,  already  past,  are  symbolised  by  six 
angels  behind  the  Lord ;  the  seventh  day,  personified, 
is  receiving  the  Lord's  blessing.  7.  The  Lord  breathes 
into  man  the  breath  of  life,  represented  by  a  small 
winged  soul.  Note  in  all  these  early  mosaics  the  intense 
symbolism.  8.  The  Lord  takes  Adam  into  Paradise,  the 
four  rivers  of  which   are   represented   by  four   recumbent 

^  The  surrounding  inscriptions  in  Latin  are  not  from  the  Vulgate, 
but  from  the  old  version  known  as  the  Italic,  which  often  varies 
considerably  from  it,  and  still  more  from  the  English  translation. 
Occasionally  phrases  are  shortened  or  simplified.  I  therefore  give  in 
each  case  their  rough  sense,  not  the  familiar  English  words,  in  order 
the  better  to  illustrate  the  meaning  of  the  mosaics 


40        BYZANTINE    VENICE:   ST.    MARK'S       [n. 

River  Gods  with  urns  —  a  classical  survival.  Many  minor 
symbolic  points  too  numerous  to  mention  may  be  noted  by 
the  curious  observer.  (Cross  over  again.)  [s^d  tier.]  I. 
Adam  names  the  beasts.  2.  The  Lord  puts  Adam  into  a 
deep  sleep,  and  draws  Eve  from  his  side  to  the  R.  *3.  The 
Lord  presents  Eve  to  Adam.  4.  The  serpent  tempts  Eve. 
5.  Eve  plucks  the  apple,  and  (twice  represented  in  the  same 
scene)  gives  it  to  Adam.  6.  Adam  and  Eve  clothe  them- 
selves with  leaves.  (Cross  over.)  7.  The  Lord  enquires 
of  Adam,  who  answers,  "  The  woman  thou  gavest  unto  me," 
etc.  8.  The  Lord  chides  Adam  and  Eve.  9.  Adam  and 
Eve  hear  their  sentence  of  punishment.  10.  *The  Lord 
gives  Adam  and  Eve  garments,  (very  naive.)  12.  The  Lord 
expels  Adam  and  Eve  from  the  gate  of  Paradise  ;  to  the  R. 
they  labour  outside  the  garden.  (All  these  subjects  are 
closely  copied  from  Byzantine  originals  of  the  5th  century. 
Designs  almost  identical  are  found  in  the  very  ancient 
illuminated  Greek  Bible  of  the  Cottonian  collection  in  the 
British  Museum.) 

In  the  pendentives,  below  the  cupola,  are  four  admirable 
*six-winged  seraphs.  Observe  how  exquisitely  they,  and 
the  decoration  beneath  them,  are  adapted  for  filling  the 
space  assigned  them.  Under  these,  over  the  doorway  of  St. 
Clement^  the  history  of  Genesis  is  continued.  The  com- 
mand to  be  fruitful  and  multiply  ;  the  birth  of  Abel,  Cain 
to  the  R.  ;  Cain  and  Abel  offer  sacrifices — with  an  interesting 
rhyming  hexameter.'  Next,  on  the  wall  to  the  R.^  over  the 
door  into  the  Cappella  Zen — below,  L.,  Cain  and  Abel  go 
forth  into  the  field  ;  R.  Cain  kills  Abel  ;  above,  L.,  Cain  is 
angry ;  R.,  the  Lord  (represented  here  and  elsewhere  in 
these  mosaics  by  a  hand  showing  from  a  firmament)  enquires 
of  Cain  what  he  has  done  to  his  brother.  In  the  arch  by 
the  outer  portal  is  the  Curse  of  Cain. 

^  As  this  Guide  is  intended  for  general  use  I  do  not  transcribe  the 
inscriptions  in  the  te.xt  ;  but,  for  the  sake  of  those  classical  scholars 
who  may  desire  to  have  their  numerous  abbreviations  simplified,  I 
have  added  the  whole  of  those  in  the  Atrium  written  out  at  length  in 
an  Appendix. 


11.]       BYZANTINE    VENICE:   ST.    MARK'S         4 1 

On  the  under  side  of  the  arch  between  this  first  cupola 
and  the  main  portal  (door  of  St.  Mark)  is  represented  the 
History  of  Noah.  It  begins  on  the  L.  side,  towards  the 
Piazza.  Above,  the  Lord,  as  a  hand  from  a  firmament,  (a 
recurrent  point  which  I  will  not  again  notice,)  gives  the 
command  to  Noah  to  build  the  ark  ;  then,  the  building  of 
the  ark.  2nd  tier :  the  clean  and  unclean  animals  enter  the 
ark,  by  sevens  and  by  pairs  respectively.  2>^d  tier:  the 
family  of  Noah  enter  the  ark.  R.  side,  towards  the  church  ; 
above,  the  Deluge  ;  (observe  the  rain  ;)  Noah  sends  out  the 
raven  and  the  dove.  2nd  tier :  the  return  of  the  dove  with 
the  olive  branch  ;  the  exit  from  the  ark  ;  (notice  the  escaping 
lion.)  3r</  tier :  Noah's  sacrifice,  and  the  dispersal  of  the 
animals. 

The  lattice  work,  with  inscription  beneath,  opposite  these 
last  mosaics,  forms  the  tomb  of  Doge  Vitale  Falier,  made  up 
of  antique  fragments.  The  great  Doge,  in  whose  reign  the 
body  of  St.  Mark  was  miraculously  recovered,  lies  in  an 
early  Christian  sarcophagus.  The  wife  of  Doge  Vitale 
Michiel  occupies  a  similar  tomb  beyond  the  principal  door- 
way. 

Continue  the  series  oi  mosaics  beyond  the  main  portal. 
The  mosaics  on  the  under  side  of  the  arch  between  the 
door  of  5t.  Mark  and  that  of  St.  Peter  begin  on  the  inner 
or  R.  side.  Above  :  Noah  plants  a  vineyard  ;  the  drunken- 
ness of  Noah  ;  Ham  sees  his  father's  nudity  and  announces 
the  fact  to  Shem  and  Japhet.  Below:  Shem  and  Japhet 
cover  their  father  with  a  robe  ;  the  curse  of  Ham  ;  the 
burial  of  Noah.  L.  side,  the  building  of  Babel  ;  from 
above,  the  Lord  observes  it  in  the  heavens  ;  then,  the  Lord 
descends  in  a  glory  of  angels  to  confound  the  languages. 

The  next  door  is  that  of  St.  Peter,  with  his  image  in  a 
lunette  above  it.  This  section  of  the  Atrium  contains  the 
Story  of  Abraham  ;  it  begins  in  the  second  cupola  just 
above  the  head  of  St.  Peter,  and  reads  to  the  R.  The  Lord 
chooses  Abraham,  and  the  departure  of  Abraham  with  a 
great  cavalcade  of  camels  from  Ur  of  the  Chaldees  ;  Lot  is 
made  prisoner  by  the  king  of  Sodom  ;  the  meeting  of  Abra- 


42        BYZANTINE    VENICE:   ST.    MARK'S       [ri 

ham  and  Melchisedec,  both  named  ;  Abraham's  interview 
with  the  king  of  Sodom  ;  Sarah  brings  Hagar  to  Abraham  ; 
the  flight  of  Hagar ;  the  angel  comforts  Hagar  in  the  wil- 
derness ;  the  birth  of  Ishmael ;  the  institution  of  the  rite  of 
circumcision  ;  the  last  subject,  very  obscure,  represents,  I 
think,  the  circumcision  of  the  stranger  "bought  with 
money." 

In  the  arch  above  the  figure  of  St.  Peter,  L.,  Abraham 
receives  the  three  angels  :  R.,  he  ministers  to  them  at  table, 
while  Sarah  at  the  door  of  the  tent  laughs  at  the  prediction 
of  the  birth  of  Isaac.  Opposite,  above  the  outer  door,  the 
birth  of  Isaac  ;  his  circumcision.  In  the  pendentives  of  this 
cupola  are  medallions  of  the  Four  Greater  Prophets. 

The  under  side  of  the  arch  between  the  2nd  and  3rd 
cupolas  has  a  figure  of  Justice,  (the  first  of  a  series  of  Vir- 
tues which  begins  here,)  and  the  two  pillar  saints,  St. 
Alipios  and  St.  Simeon  Stylites,  very  curious. 

Corner  cupola,  the  Story  of  Joseph  ;  it  begins  by  the 
middle  of  the  inner  arch,  just  above  the  figure  of  Charity  : 
Joseph's  dream  of  the  sheaves  which  bow  down  to  the 
twelfth  sheaf ;  Joseph  tells  his  dream  to  his  brothers  ;  the 
brothers  complain  to  Jacob,  who  reproves  Joseph  ;  Jacob 
sends  out  Joseph  to  find  his  brethren  ;  Joseph  discovers 
them  (notice  in  these  two  cases  his  bundle)  ;  the  brethren 
hide  Joseph  in  the  well  ;  the  brethren  feast,  while  the 
Ishmaelites  approach  with  their  camels  ;  Joseph  is  taken 
out  of  the  well ;  the  brothers  sell  him  to  the  Ishmaelites  ;  the 
Ishmaelites  with  their  camels,  conduct  him  to  Egypt ; 
Reuben  seeks  Joseph  in  the  well  ;  Jacob's  sons  show  their 
father  the  torn  and  bloody  coat,  with  the  grief  of  Jacob. 

The  pendentives  have  medallions  of  four  prophets,  Eli, 
Samuel,  Nathan,  Habakkuk,  holding  rolls  with  inscriptions. 
I  omit  notice  of  many  beautiful  decorative  bands  and  arches. 
The  reader  must  observe  these  points  for  himself 

The  half^dome,  at  the  end  of  the  Atrium,  looking  N., 
contains  a  feeble  representation  of  the  Judgment  of  Solo- 
mon, 16th  century.  Beneath  it  is  the  tomb  of  Doge  Barto- 
lomeo   Gradonico  (d.  1342),  consisting   of  an   early  Pisan 


II.]      BYZANTINE    VENICE:   ST.    MARKS        43 

sarcophagus,  with  our  Lady  and  Child,  St.  Mark  (his  patron 
as  Doge),  and  St.  Bartholomew  (his  personal  patron),  pre- 
senting the  Doge  to  our  Lady  ;  at  the  corners,  an  Annunci- 
ation :  beneath  is  an  interesting  inscription.  Annunciations 
and  presentations  of  the  deceased  by  his  patrons  are  habitual 
features  on  Venetian  tombs. 

The  under  side  of  the  arch  between  the  corner  cupola 
and  the  first  cupola  of  the  northern  branch  has  in  its 
centre  a  good  Byzantine  figure  of  Charity  ;  R.,  St.  Phocas, 
the  Greek  patron  saint  of  sailors,  and  therefore  very  apprO" 
priate  to  a  commercial  and  seafaring  city  ;  L.,  a  poor 
modern  figure  of  St.  Christopher  wading  through  the  river 
with  the  infant  Christ. 

The  first  north  cupola  contains  the  continuation  of  the 
History  of  Joseph.  The  mosaics  of  this  portion  of  the 
church  are  remarkable  for  their  increased  story-tellmg 
faculty,  in  which  respect  they  are  unequalled  in  St.  Mark's. 
The  story  begins  just  over  the  figure  of  Hope,  in  the  arch 
beyond  it  :  Joseph  is  sold  to  Potiphar;  (observe  the  costumes 
of  the  Ishmaelites  and  the  Egyptians  ;)  Potiphar  confides 
his  whole  household  to  Joseph  ;  Potiphar's  wife  tempts 
Joseph  ;  Joseph  flees  from  Potiphar's  wife,  leaving  his  coat 
behind  him  ;  the  woman  shows  the  coat  to  all  her  house- 
hold ;  arrest  of  Joseph,  who  is  condemned  to  imprisonment ; 
Pharaoh,  throned  and  crowned,  sends  to  prison  the  Chief 
Baker  and  the  Chief  Butler  ;  the  dreams  of  the  Baker  and 
Butler  ;  Joseph  interprets  them. 

The  pendcntives  continue  the  story,  beginning  on  the  R. 
(inner,  or  south-east)  angle  :  Pharaoh  recalls  the  Chief  But- 
ler ;  the  birds  devour  the  Chief  Baker  ;  Pharaoh's  dream  ; 
the  seven  lean  kine  devour  the  seven  fat  ones. 

Arch  to  the  R.  (between  the  Butler  and  Baker)  ;  above : 
Pharaoh's  dream  of  the  well-favoured  and  ill-favoured  ears  ; 
below:  Pharaoh  asks  the  interpretation  of  his  dream  of  his 
wise  men  ;  the  Chief  Butler  tells  him  of  Joseph. 

In  the  half^dome  opposite :  feeble  and  mannered 
Renaissance  mosaic  of  Joseph  interpreting  Pharaoh's  dream. 
Beneath  it,  Doge  Marino  Morosini  (d.  1253)  is  buried  in  an 


44        BYZANTINE    VENICE:   ST.    MARK'S        [li. 

early  Christian  sarcophagus,  the  inscription  on  which  alone 
is  of  his  own  period.  The  sarcophagus  represents,  above, 
in  the  centre,  Christ,  flanked  by  the  twelve  Apostles  ;  in  the 
lower  tier,  Our  Lady  and  four  saints,  undetermined,  sepa- 
rated by  four  censers.  The  style  of  the  sarcophagus  is  that 
of  the  6th  century. 

Under  the  arch  between  this  cupola  and  the  next, 
in  the  centre,  Hope ;  beneath  it,  a  beautiful  Byzantine 
mosaic  of  *St.  Agnes,  with  a  modern  one  of  St.  Catharine  ; 
then,  St.  Sylvester  the  Pope,  and  a  Renaissance  figure  of 
San  Geminiano,  (whose  church  at  that  time  occupied  part  of 
the  Piazza,)  from  a  cartoon  by  Titian. 

I  will  not  so  minutely  describe  the  subjects  in  the  next 
two  cupolas,  as  they  may  by  this  time,  I  think,  be  followed 
by  the  reader  on  the  strength  of  his  own  scriptural  know- 
ledge. The  2nd  north  cupola  contains  the  remainder  of 
the  History  of  Joseph,  the  story  in  this  case  beginning  at 
the  opposite  side  from  what  has  hitherto  been  usual,  just 
above  the  figure  of  Hope  in  the  arch  last  described.  The 
subjects  are  :  Jacob  sending  his  sons  to  Egypt  for  corn  ; 
Joseph  treats  them  as  spies  ;  Jacob's  sons  repent  ;  Simeon 
is  bound  ;  the  corn  is  placed  in  the  granaries  ;  the  birth  of 
Ephraim ;  the  Egyptians  clamour  for  bread  ;  Joseph  opens 
the  granaries. 

In  the  pendentivcs,  the  four  Evangelists.  R.  lunette; 
the  sons  of  Jacob  empty  their  sacks  ;  Jacob  sends  Benjamin  ; 
Benjamin  received  by  Joseph .  On  the  tender  side  of  the 
arch  which  spans  this  lunette  are  five  Roman  saints, 
Cecilia,  Cassianus,  Cosmo,  Damian,  Gaudens,  and  one, 
restored  as  St.  Tvlarinus,  but  more  probably,  (since  she 
balances  Cecilia,)  the  virgin  saint  Marina,  who  dressed  as  a 
man  to  preserve  her  virginity. 

Arch  leading  to  the  next  section  :  the  "  Queen  of  the 
South,"  holding  her  roll  of  prophecy ;  below  her,  St. 
Nicholas  and  St.  Blaise  (Biagio)  ;  below  again,  two  Domi- 
nican saints,  St.  Dominic,  and  St.  Peter  Martyr. 

In  the  last  cupola  is  the  Story  of  Moses,  which  may  now 
be  safely  left  to  the  reader.  The  pendentives  contain  four 
prophets. 


II.]      BYZANTINE    VENICE:   ST.    MARK'S        45 

Over  the  doorway  at  the  end,  known  as  the  Doorway  of 
St.  John,  is  a  large  mosaic  in  a  half-dome,  representing  Our 
Lady  with  the  Child,  seated,  with  her  Greek  monogram, 
flanked  by  St.  John  the  Evangelist  and  St.  Mark  ;  her 
throne  and  cushion  are  meant  to  be  characteristically 
Byzantine.  But  this  is  a  tolerable  modern  imitation,  dating 
from  1840.  It  lacks  the  grandeur  and  solemnity  of  the 
simple  old  work.  It  probably  replaces  an  older  mosaic  of 
St.  John,  to  whom  the  door  and  the  chapel  opposite  (now 
that  of  the  Blessed  Virgin)  were  formerly  dedicated. 

The  True  Interior 
Set  out   on    your  examination    of   the  true  interior    by 
entering  at  the  main  portal,   or   St.  Mark's  Door,  (centre 


I'ffTfa. 
twrv 


l»«OLI|  \  <  \  I 

(fl    0 .  'owl 


tfioae^^FaU 


IBAPTIS 
TEKV 

/     S^Peter    SiMark  S'aemenf.    ^^^ 


GENERAL   KEY   TO   CHAPELS,    ETC. 


46       BYZANTINE    VENICE:   ST.    MARK'S        [n. 

of  West  Front :)  should  this  be  closed,  as  is  sometimes 
the  case,  enter  by  one  of  the  other  doors,  but  return  at 
once  to  this,  at  the  end  of  the  Nave,  or  West  Arm  of  the 
Greek  Cross. 

In  the  lunette  over  the  doorway  within  is  a  particularly 
beautiful  and  very  early  ^mosaic  of  Our  Lord  enthroned 
between  Our  Lady  and  St.  Mark  ;  the  two  former  have  their 
Greek  monograms.  This  is  one  of  the  most  ancient  mosaics 
in  the  whole  basilica.  It  bears  the  inscription  (in  rhyming 
Latin),  "  I  am  the  gate  of  life  ;  through  Me,  My  members 
pass." 

Begin  your  examination  of  the  Nave  and  Aisles,  (or 
West  Arm  of  the  cross,)  confining  your  attention  for  the 
present  to  the  loiuer  portion,  up  to  the  level  of  the  Gallery. 
(The  mosaics  above  this  level  are  best  seen  from  the  Gallery 
itself,  which  we  shall  afterwards  visit.)  The  magnificent 
mosaic  pavement  of  marble  and  other  precious  stones 
should  also  be  noted  in  every  part  of  the  building ;  it  pre- 
sents exquisite  decorative  patterns  and  animal  symbolism, 
the  two  peacocks  with  a  central  object  being  the  most 
frequent  design.  Part  of  it  has  been  "restored"  and 
straightened  with  disastrous  effect  :  the  older  wavy  portion 
Is  exceedingly  lovely.  Observe  also  the  marble  panelling 
or  incrustation  of  the  walls. 

Enter  the  R.  or  S.  Aisle.  In  the  \st  arch,  on  the  wall 
to  the  R.,  are  good  early  reliefs  of  Our  Lord  between  Our 
Lady  and  St.  John  the  Evangelist.  On  the  under  side  of 
the  arch,  between  this  and  the  next  compartment,  two  ex- 
cellent mosaics  of  St.  Paul  the  Hermit,  in  his  robe  of  rushes, 
and  St.  Hilarion,  another  of  the  early  ascetics,  lean  and 
meagre,  covered  with  leaves  only.  On  the  R.  wall  of  the 
S.  Aisle  are  fine  early  mosaics  of  Our  Lady  in  the  centre, 
flanked  by  four  prophets  who  have  prophesied  of  her, 
named,  and  holding  rolls  of  their  prophecies ;  the  two 
nearest  to  her  are  her  royal  ancestors,  David  and  Solomon  ; 
Isaiah's  roll  bears  the  usual  inscription,  "  Behold,  a  virgin 
shall  conceive  and  bear  a  son." 

Now  cross  over  the  church  to  the  L.  or  N.  Aisle,  (north 


II.]      BYZANTINE    VENICE:   ST.    MARK'S         47 

compartment  of  the  West  Arm  of  the  cross.)  Here,  in  a 
position  answering  to  that  of  Our  Lady  opposite,  is  a 
beautiful  youthful  **Byzantine  figure  of  the  beardless  Christ, 
(bare-footed,)  similarly  flanked  by  four  prophets  who  have 
prophesied  of  him.  The  Christ  is  one  of  the  most  beautiful 
forms  in  the  entire  building.  (In  very  early  art  he  is  always 
represented  beardless.) 

The  arcade  which  supports  the  gallery  in  the  I^.  or  S. 
Aisle  has  on  the  under  side  of  its  arches  other  mosaics  : 
1st  arch,  St.  Julian  and  St.  Cesarius  ;  2nd  and  3rd  arches, 
decorative.  (Observe  here  the  beautiful  architecture  of  the 
gallery,  and  the  marble  coating  beneath  it.  On  the  floor, 
a  fine  mosaic  pattern  of  peacocks  and  grapes.)  4th  arch, 
St.  Felicianus  and  St.  Primus.  The  L.  or  N.  Aisle  is 
similarly  decorated,  its  saints  being,  ist  arch,  St.  Fermus, 
and  St.  Felix  (standing  over  a  handsome  holy-water  vessel). 
4th  arch,  Sts.  Nazarius  and  Felicius.  The  quaint  little 
tabernacle  under  the  4th  arch  is  the  Chapel  of  the  Cruci^- 
fix. 

Do  not  quit  this  Nave  and  Aisles  until  you  have  grasped 
their  relation  to  the  rest  of  the  building. 


Before  examining  further  the  main  body  of  the  interior,  I 
strongly  advise  you  to  find  the  Sacristan  and  get  him  to 
unlock  the  gate  of 

The  Baptistery, 

which  is  entered  by  a  door  in  the  Right  Aisle,  not  far  from 
the  St.  Clement  entrance.  You  pay  on  leaving  (see  below). 
At  least  one  whole  morning — a  sunny  one  if  possible — 
should  be  devoted  to  examining  this  chapel  and  the  Cappella 
Zen.  Remember  that  they  contain  far  more  objects  of 
artistic  interest  than  most  northern  cathedrals. 

The  Baptistery,  with  the  adjoining  chapel,  formed  origin- 
ally a  portion  of  the  Atrium,  but  was  shut  off  from  it 
apparently  about  the  13th  century.  In  the  middle  of  the 
14th  century,  the  great  Doge  Andrea  Dandolo,  (elected 
in  1342,)  gave  a  commission  to  have  the  whole  of  the 
Baptistery    decorated    throughout    with    mosaics.      These 


48      BYZANTINE    VENICE:   ST.    MARK'S       [ii. 

works  thus  form  a  transitional  link  between  the  early 
Byzantine  type  and  the  latter  Renaissance  handicraft  which 
we  shall  observe  hereafter,  and  some  specimens  of  which  we 
have  already  seen  in  the  exterior.  In  examining  the 
Baptistery,  therefore,  bear  these  two  facts  in  mind  :  (ist) 
that  its  purpose  is  that  of  administering  baptism,  on  which 
account  it  is  naturally  dedicated  to  the  institutor  of  the  rite, 
St.  John  the  Baptist,  while  almost  all  its  decorations  bear 
direct  reference  to  his  life  or  to  the  sacrament  of  baptism  ; 
(2nd)  that  it  is  a  monument  of  Doge  Andrea  Dandolo, 
whose  tomb  it  contams,  the  great  prince  choosing  to  be  buried 
in  the  midst  of  this  noble  memorial  of  his  own  munificence. 

The  Baptistery  consists  of  three  portions:  (i)  that  with 
the  font,  by  which  you  enter ;  (2)  that  to  the  left,  with  the 
altar ;  both  these  have  cupolas  ;  (3)  a  little  vaulted  room 
to  the  R.,  near  the  entrance  to  the  Cappella  Zen.' 

Begin  with  the  second  of  these,  and  examine,  first,  the 
♦mosaic  in  the  hmette  above  the  altar.  It  represents  the 
Crucifixion,  with  the  usual  accompanying  figures  of  Our 
Lady  and  St.  John  the  Evangelist,  named  above.  Water 
and  blood  (the  former  unusual)  gush  from  the  Redeemer's 
wounds — the  water  (John  xix.  34)  clearly  symbolising  baptism. 
Beyond  Our  Lady,  to  the  L.,  stands  St.  Mark,  patron  of  the 
Church,  with  his  open  Gospel  ;  beyond  St.  John  the  Evange- 
list, to  the  R.,  St.  John  the  Baptist,  pairon  of  the  chapel. 
At  the  foot  of  the  cross,  close  to  the  usual  skull  of  Adam, 
kneels  Doge  Andrea  Dandolo  himself,  the  donor,  in  his 
ducal  cap  and  robe.  On  either  side  kneel  his  Grand 
Chamberlain  and  a  senator.  The  whole  thus  tells  the  story 
of  this  Baptistery,  in  this  church  of  St.  Mark,  decorated  by 
this  Doge,  aided  by  his  subordinates. 

Neglecting  for  the  moment  the  cupola  and  other  decora- 
tions, look  next  at  the  mosaic  in  the  Iimctte  to  your  R.  as 
you  face  the  altar.  It  begins  a  series  of  scenes  from  the  life 
of  the  Baptist,  continued  round  the  three  rooms  at  the  same 
level.  Its  subjects  are,  from  L.  to  R.  :  the  angel  appears  to 
Zacharias  ;  Zacharias  is  struck  dumb  ;  he  goes  forth  from 
the  Temple  to  the  people;   he  meets  his  wife,  Elizabeth. 


II.]      BYZANTINE    VENICE:   ST.    MARK'S         49 

The  story  continues  in  the  lunette  of  the  next  compartment, 
pierced  by  a  window  :  birth  of  St.  John  the  Baptist,  a  poor 
16th-century  work  substituted  for  the  fine  original. 

Seat  yourself  on  the  red  marble  seat  to  the  R.,  facing 
south,  between  the  compartment  with  the  font  and  the 
vaulted  room,  to  examine  the  next  two  mosaics  on  the  toa^l 
wliich  gives  access  to  the  Cappella  Zen.  L.  of  the  central 
arch,  an  angel  leads  the  infant  John  into  the  wilderness.  In 
the  lunette,  an  angel  brings  him  a  garment  at  the  approach 
of  his  ministry.  R.  of  the  arch,  the  preaching  of  St.  John 
the  Baptist. 

Now,  sit  on  the  seat  near  the  pierced  door  leading  into 
the  Piazzetta.  On  the  wall  opposite.,  the  Baptism  of  Christ 
in  Jordan  :  three  angels  on  the  bank,  as  usual  in  the  con- 
ventional representation  of  this  scene,  hold  the  Saviour's 
garments.  To  the  R.  of  this,  on  the  loall  leading  into  the 
font  room.,  John  saying,  "  I  indeed  baptise  with  water,"  etc. 

Over  the  main  entrance  to  the  Baptistery,  opposite  the 
font,  **the  daughter  of  Herodias  dances  before  Herod  ;  on 
the  R.  her  mother  bids  her  to  ask  for  the  head  of  St.  John 
the  Baptist  in  a  charger,  which  is  symbolised  by  a  pointing 
hand  and  by  the  princess  already,  prophetically  as  it  were, 
bearing  the  head  on  her  own  as  she  dances.  This  is  a  piece 
of  extreme  symbolism  ;  study  well  this  beautiful  composition, 
admirable  for  its  balance,  for  the  vivid  pose  of  the  dancing 
princess,  for  the  magnificent  robes  of  the  king,  queen,  and 
courtier,  and  for  the  delicious  dishes  and  decorations  of  the 
table.     On  the  R.  a  page  brings  in  a  dish  of  fruit. 

The  last  compartment  of  the  history  is  in  the  lunette  to  the 
L.  op  the  altar.,  and  contains  three  subjects  :  (i)  the  behead- 
ing or  decollation  of  St.  John  the  Baptist,  with  a  fine  figure 
of  the  executioner  sheathing  his  sword  ;  centre,  the  princess 
brings  the  head  to  the  enthroned  *Herodias,  who  sits  like  a 
Byzantine  empress,  a  type  of  worldly  pomp  and  power  com- 
bined with  wickedness  ;  to  the  R.,  the  disciples,  in  Greek 
ecclesiastical  costumes,  place  the  body  of  the  saint  in  the 
tomb. 

Beneath  this  mosaic  is  a  carved  stone  head  of  St.  John 

G.V.  D 


50         BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

the  Baptist,  and  also,  lower  down,  let  into  the  wall,  the  slab 
on  which  he  was  beheaded,  still  stained  red  with  the  blood 
of  his  martyrdom. 

Now,  examine  in  further  detail  the  other  decorations  of 
the  compartment  containing  the  font. 

The  cupola  has  in  its  centre  a  figure  of  Christ  holding  a 
scroll  with  the  command,  "  Go  into  all  the  world  and  preach, 
baptising,"  etc.  Beneath  are  figures  of  St.  Mark  and  the 
Apostles  obeying  this  command  ;  each  Apostle  is  represented 
laying  his  hands  on  a  naked  convert  in  the  font,  while  a 
sponsor  stands  by  to  the  R.  The  inscriptions  mention  the 
places  in  which  each  baptised  in  the  following  order,  be- 
ginning with  St.  Mark,  (who  is  over  the  doorway  leading 
into  the  Baptistery,  and  is  in  dark-blue  robes  :)  St.  Mark 
baptises  in  Alexandria  ;  St.  John  the  Evangelist  in  Ephesus ; 
James  Minor  in  Judea  ;  Philip  in  Phrygia ;  Matthew  in 
Ethiopia  ;  Simon  in  Egypt  ;  James  in  India  ;  Andrew  in 
"  Chaja  "  (Achaia)  ;  Peter  in  Rome  ;  Bartholomew  in  India  ; 
Thaddeus  in  Mesopotamia  ;  Matthias,  in  Palestine.  In  the 
pendentives  of  this  cupola  are  the  *four  Greek  Fathers  of 
the  Church,  very  noble  figures,  Saints  Athanasius,  John 
Chrysostom,  Gregory  Nazianzen,  and  Basil,  (the  last  restored, 
but  excellent,)  habited  in  picturesque  Greek  canonicals,  and 
each  holding  a  scroll  inscribed  with  a  Latin  sentence,  sup- 
posed to  be  translated  from  his  writings,  relating  to  baptismal 
regeneration. 

The  cupola  in  the  altar  compartment  is  very  dark, 
but  nevertheless  deserves  careful  study.  Sit  till  your  eyes 
are  able  to  see  it.  It  contains  in  its  centre,  Christ  in  Glory, 
ascending,  surrounded  by  a  circle  of  angels.  Beneath,  just 
over  the  altar,  is  the  figure  of  an  *eight-winged  seraph  bear- 
ing the  inscription,  Plenitude  scientie,  "Fulness  of 
Wisdom."  The  other  Symbolical  figures  from  this  point, 
reading  to  the  R.,  are  as  follows  :  Thrones,  Dominations, 
Angels,  Virtues  (with  Death  conquered).  Powers  (with  the 
devil  chained),  Principalities,  and  Seraphim.  The  whole 
represents  Heaven,  which  is  entered  by  the  gate  of  the 
sacrament  of  Baptism.      In  the  pendentives  are   the    four 


II.]        BYZANTINE    VENICE:   ST.    MARK'S        5 1 

Latin  Fathers,  Gregory,  Augustine,  Jerome,  Ambrose,  with 
angels  dictating  to  them.  The  Latin  type  of  these  saints 
should  be  contrasted  with  the  Greek  type  of  the  Greek 
Fathers  in  the  corresponding  part  of  the  central  cupola. 

Behind  the  altar  is  an  appropriate  relief  of  the  Baptism 
of  Christ,  with  many  accessories  (Annunciation,  Daniel, 
Zacharias,  St.  Mark,  St.  Nicholas,  etc.) ;  R.  and  L.  of  it, 
reliefs  of  St.  George  and  St.  Theodore,  both  mounted  and 
slaying  their  respective  dragons  ;  these  two  connect  the 
chapel  with  the  minor  patrons  of  Venice.  The  altar  itself 
consists  of  a  huge  block  of  rough  granite,  from  which  Christ 
preached  to  the  Tyrians.  It  was  brought  from  Tyre  by 
Doge  Domenico  Michiel  in  1126. 

On  the  under  side  of  the  arch  between  the  altar  coni= 
partment  and  the  font  compartment  are  two  old  mosaics 
of  the  blessed  Pietro  Orseolo,  Doge  of  Venice,  and  St. 
Isidore  (whose  connection  with  Doge  Andrea  Dandolo  will 
be  clearer  later).  Below  are  a  vile  modern  mosaic  of  the 
Blessed  Anthony  of  Brescia,  a  disgrace  to  this  noble 
chapel,  as  well  as  a  feeble  theatrical  17th-century  figure  of 
St.  Theodore. 

In  the  place  of  honour,  beneath  the  central  cupola,  (with 
Christ  sending  forth  the  Apostles  to  baptise,)  stands  the 
ancient  font,  supplied  in  the  i6th  century  (1545)  with  a 
good  Renaissance  bronze  cover  ;  the  bronze  statue  of  St. 
John  the  Baptist  in  its  centre  is  by  Francesco  Segala,  after 
a  design  by  Sansovino  ;  the  bronze  reliefs,  with  the  four 
Evangelists,  and  scenes  from  the  life  of  St.  John  the 
Baptist,  are  by  Tiziano  Minio  of  Padua,  and  Desiderio  of 
Florence.  This  font,  of  course,  forms  the  ralson  d'etre  of 
the  whole  chapel. 

Opposite  the  main  entrance  door  is  the  monument  of 
Doge  Andrea  Dandolo,  the  donor,  a  splendid  specimen  of 
14th-century  sculpture.  Above,  the  ^recumbent  figure  of 
the  Doge,  (d.  1354,)  serenely  beautiful,  under  a  graceful 
canopy  ;  beneath,  on  the  sarcophagus,  the  Madonna  and 
Child,  and  an  Annunciation  in  two  niches  :  between  them, 
two  reliefs   representing   St.    John  the    Evangelist    in   the 


52         BYZANTINE    VENICE:   ST.    MARK'S      [ir. 

cauldron  of  boiling  oil,  and  the  martyrdom  of  the  Doge's 
personal  patron,  St.  Andrew.  The  angels  drawing  curtains, 
as  usual  in  tombs  of  the  Pisan  school,  should  also  be 
noted.  Andrea  Dandolo  was  the  last  Doge  buried  in  St. 
Mark's  :  after  his  time,  the  Serene  Princes  were  buried  at 
San  Giovanni  e  Paolo,  or  at  the  Frari. 

The  greater  part  of  the  small  vaulted  chamber  between 
the  font  and  the  Cappella  Zen  has  no  direct  reference  to  the 
subject  of  baptism.  It  is  treated  as  a  vestibule,  and  there- 
fore appropriately  gives  the  life  of  Christ  before  his  baptism. 
The  under  side  of  the  arch  which  leads  to  it  has  mosaics  of 
the  four  Evangelists.  On  the  vaulted  roof  in  the  centre,  is 
a  colossal  head  of  Christ,  represented  as  aged,  after  the 
later  Byzantine  fashion,  and  surrounded  by  prophets  bearing 
rolls  of  prophecy.  Beneath  are  Episodes  of  the  Infancy  : 
on  the  side  towards  the  Cappella  Zen,  L.,  the  Three  Magi, 
represented  as  Three  Kings,  (old,  middle-aged,  and  young,) 
come  to  Bethlehem  to  enquire  of  Herod  ;  R.,  the  Three 
Kings  adore  the  Child,  with  Joseph  warned  by  an  angel  to 
fly  into  Egypt  :  both  much  restored  and  almost  modern. 
(You  will  find  these  two  scenes  represented  very  similarly 
elsewhere.  Note  and  compare  all  such  subjects.)  On  the 
side  towards  the  font,  L.,  the  Flight  into  Egypt,  the  latter 
symbolically  represented  by  a  city  ;  and  R.,  the  Massacre  of 
the  Innocents  :  in  the  lunettes  at  either  end,  two  prophets. 
Near  the  door,  R.,  is  the  tomb  of  Doge  Giovanni  Soranzo 
(1328)  bearing  his  arms. 

Now  pass  through  the  doorway  into  the 
Cappella  Zen. 
This  beautiful  little  chapel,  otherwise  known  as  that  of 
the  Madonna  della  Scarpa,  "Our  Lady  of  the  Slipper,"  (so 
called  from,  her  having  given  her  bronze  slipper  to  a  poor 
votary,  on  which  it  was  miraculously  turned  into  gold,)  con- 
tains a  series  of  very  early  mosaics,  (12th  century.)  It  was 
afterwards,  in  the  i6th  century,  converted  into  a  mausoleum 
for  Cardinal  Zen  or  Zeno  (see  below).  I  will  begin  by  de- 
scribing the  original  building  with  its  decorations,  and  pass 
on  later  to  the  obtrusive  Renaissance  additions. 


II.]       BYZANTINE    VENICE:  ST.    MARK'S        53 

In  the  haIf=-dome,  towards  the  outer  Atrium,  is  a  (re- 
stored) figure  of  Our  Lady  with  her  Greek  monogram,  and 
at  the  sides  two  (original)  sombre  and  morose-faced  Byzan- 
tine angels.  Below,  in  niches,  are  the  youthful  beardless 
Christ,  blessing,  and  four  prophets  in  mosaic,  alternating 
with  four  statues  of  prophets  (13th  century).  The  beautiful 
Byzantine  architecture  should  be  carefully  noted. 

On  the  vaulted  roof,  in  the  centre,  is  an  early  mosaic 
figure  of  the  beardless  Christ.  Beneath,  on  either  side,  is 
the  **Iegend  of  Si.  Mark,  whose  body  rested  first  in  this 
chapel  after  its  arrival  in  Venice.  The  series  begins,  above, 
on  the  wall  of  access  from  the  Baptistery,  (i)  St.  Mark 
writes  his  Gospel  at  the  request  of  the  brethren  ;  (2)  he 
presents  it  to  St.  Peter,  who  orders  it  to  be  read  in  the 
church  ;  (3)  he  baptises  at  Aquileia,  one  of  the  chief 
mother-cities  of  Venice ;  below,  (4)  as  St.  Mark  is  sailing 
from  Aquileia  to  Rome,  and  passes  this  island,  (symbolised 
by  water-plants  to  the  R.  below,)  an  angel,  flying  from  a 
very  material  blue  heaven  announces  to  him  that  his 
Basilica  shall  be  erected  on  this  spot ;  (5)  St.  Peter  ap- 
points St.  Hermagoras  to  the  Bishopric  of  Aquileia  ;  (6) 
St.  Mark  enters  Egypt,  (symbolised  by  a  gate,)  preaches 
there,  and  expels  demons.  Opposite,  on  the  wall  towards 
the  Piazza  :  above — (i)  an  angel  orders  St.  Mark  in  a  dream 
at  Pentapolis  (so  named  to  the  L.)  to  sail  to  Alexandria  ; 
(2)  St.  Mark  in  the  ship  on  his  way  to  Alexandria,  symbol- 
ised by  its  celebrated  Pharos  or  lighthouse  ;  (3)  St.  Mark 
heals  the  cobbler  St.  Anianus  of  a  wound  made  by  his 
awl ;  beloiu — (4)  St.  Mark  is  arrested  by  the  pagans  (called 
"  Saracens "  in  the  inscription)  while  celebrating  mass 
at  the  altar  ;  (5)  he  is  dragged  through  Alexandria  and 
beaten  ;  (6)  he  is  buried  by  his  disciples  in  a  sarcophagus. 
In  all  these  mosaics  the  symbolical  character  of  the  buildings 
(exterior  or  interior)  should  be  noticed  ;  they  are  full  of 
meaning.  This  most  interesting  series  is  a  good  epitome 
of  the  Venetian  legend  of  St.  Mark.  I  have  said  nothing 
of  the  exquisite  decorative  work,  which  the  reader  must 
of  course  notice  for  himself. 


54        BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

In  the  arch  beneath  the  mosaics  last  described  is  an 
old,  much-damaged  relief,  with,  below,  the  Nativity,  Joseph, 
Our  Lady,  the  Child  in  the  manger,  ox  and  ass,  and 
shepherds  ;  above,  the  Flight  into  Egypt.  Two  beautiful 
reliefs  are  also  let  into  the  wall  near  the  altar;  L.,  Byzan- 
tine Madonna  and  Child,  with  a  Greek  inscription,  referring 
to  the  opening  of  an  aqueduct  at  Constantinople  by  the 
Emperor  Michael  Pateologus  and  his  Empress  Irene  ;  no 
doubt  loot  of  Doge  Enrico  Dandolo's  :  R.,  an  Archangel 
(one-half  of  an  old  Annunciation).  Beneath  them,  two 
fine  red  marble  lions,  with  a  calf  and  child,  like  the 
griffons  on  the  exterior  ;  probably  they  once  stood  at  the 
doorway. 

Passing  on  to  the  Renaissance  additions,  notice  first 
in  the  centre  the  fine  bronze  *tomb  of  Cardinal  Giovanni 
Battista  Zen,  or  Zeno,  nephew  of  Pope  Paul  II.,  who  died 
in  1 501,  and  left  the  greater  part  of  his  immense  fortune 
to  the  Republic  of  Venice.  The  Signory  in  gratitude 
erected  this  monument.  The  Cardinal,  in  bronze,  in  full 
pontificals,  lies  on  a  bronze  sarcophagus,  supported  by 
figures  said  to  represent  Faith,  Hope,  Charity,  Prudence, 
Pity,  and  Munificence  ;  in  the  absence  of  any  recognisable 
symbols,  I  do  not  pretend  to  decide  which  is  which.  The 
monument  is  the  work  of  several  artists,  among  them  the 
Lombardi,  Leopardi,  and  Camponato. 

The  *altar  stands  under  a  bronze  and  marble  Renais- 
sance canopy,  covering  figures  of  Our  Lady  (with  a  gilded 
shoe  in  memory  of  the  miracle)  flanked  by  St.  Peter  (to 
represent  the  Cardinal's  double  connection  with  the  see 
of  Rome)  and  St.  John  the  Baptist,  his  name-saint  and 
personal  patron.  These  figures  are  by  P.  G.  Camponato  ; 
dated,  1505.  At  the  base,  a  relief  of  the  Resurrection. 
On  either  side,  poor  decorative  mosaics,  with  the  Cardinal's 
hat  and  shield.  (It  is  the  ugly  back  of  this  altar  which 
forms  the  discordant  Renaissance  pediment  between  the 
griffons  on  the  S.  facade.)  Notice  the  Gothic  arcade  in 
the  style  of  the  Doge's  Palace,  let  into  the  Byzantine  arch 
to  the  L.  of  the  altar. 


II.]       BYZANTINE    VENICE:   ST.    MARK'S       55 

Give  the  Sacristan  half  a  franc  on  leaving. 

I  have  only  called  attention  to  the  most  salient  objects 
in  these  two  beautiful  and  noble  chapels,  which  the  visitor 
should  revisit  more  than  once  and  examine  at  greater 
length  for  himself. 


Main  Chqrch  Again. 

Now,  enter  the  north  transept.  Walk  along  its  west 
or  L.  hand  Aisle  till  you  reach  a  little  chapel  at  the  extreme 
end,  closed  by  a  low  marble  screen  and  an  iron  gate.  This 
is  the  Cappella  dei  Mascoli,  so  called  because  it  was  the 
meeting-place  of  a  Guild  composed  of  men  alone.  It  is 
dedicated  to  Our  Lady,  and  its  full  title  is  Cappella  della 
Madonna  dei  Mascoli. 

The  mosaics  on  the  roof,  by  Michele  Giambono,  were 
begun  in  1430,  and  form  fine  examples  of  15th-century 
work  ;  they  show  the  early  Renaissance  tendency,  and 
are  thus  transitional  between  the  mosaics  of  the  Byzantine 
school  on  which  we  have  hitherto  for  the  most  part  con- 
centrated our  attention,  and  those  of  the  17th  century, 
some  examples  of  which  we  have  already  examined  on  the 
exterior,  while  many  more  will  occupy  our  time  hereafter. 
The  chapel  being  dedicated  to  Our  Lady,  the  subjects  repre- 
sented on  its  walls  are  naturally  five  of  the  chief  incidents 
in  her  history.  The  series  begins  on  the  L.  side  of  the  roof 
with  the  Birth  of  Our  Lady  ;  St.  Anna,  as  always  in  this 
subject,  is  in  bed  ;  St.  Joachim,  close  by,  superintends  the 
washing  of  the  infant ;  to  the  R.  are  the  usual  women 
visitors.  The  whole  takes  place  in  a  splendid  late  Gothic 
semi-Renaissance  palace.  To  the  R.  of  this  is  the  Present- 
ation of  the  Virgin  in  the  Temple,  which  may  be  instruc- 
tively compared  with  the  famous  Titian  in  the  Academy  ; 
L.,  St.  Joachim  and  St.  Anna  ;  the  little  Virgin  mounts 
the  steps  and  is  received  by  the  High  Priest  at  the  doors 
of  a  magnificent  late-Gothic  Temple,  with  Renaissance 
decoration.  On  the  window  wall,  Annunciation,  its  com- 
ponent figures  divided  by  the  window.      On    the  R.   side 


56         BYZANTINE    VENICE:   ST.    MARK'S       [n. 

of  the  roof;  L.  compartment,  the  Meeting  of  Mary  and 
Elizabeth,  which  takes  place  (as  always)  under  a  splendid 
arcade,  entirely  Renaissance  ;  to  the  R.,  St.  Zacharias  is 
seated  as  a  spectator.  R.  compartment,  the  Death  of  Our 
Lady;  her  new-born  soul  is  received  above  by  Christ,  in 
a  mandorla  of  glory.  All  the  elements  of  the  scenes  are 
conventional.  Study  well  these  five  but,  alas,  very  much 
restored  mosaics  as  admirable  examples  of  transitional 
workmanship,  unfortunately  tampered  with.  On  the  centre 
of  the  ceilmg.,  Our  Lady  and  the  Child,  with  her  royal 
ancestor,  King  David,  and  her  chief  prophet,  Isaiah.  The 
symbolism  is  full  of  veneration  for  the  Blessed  Virgin. 

The  altar-piece  consists  of  a  statue  of  Our  Lady,  in  a 
Gothic  niche,  between  St.  Mark  and  St.  John  the  Evan- 
gelist— the  latter  being  Our  Lady's  adopted  son,  and  also 
the  patron  of  the  N.  Transept. 

The  central  arch  of  the  arcade  (supporting  the  gallery) 
in  the  Aisle  which  lies  just  outside  this  chapel,  has  on 
its  under  side  good  mosaics  of  St.  Justina  and  St.  Marina. 
On  the  pier  between  the  chapel  and  the  main  transept  is 
a  fine  Byzantine  relief  of  Our  Lady.  Over  the  door  of 
access  from  the  Atrium  into  this  transept  is  a  figure  of  St. 
John  the  Evangelist  :  this  entrance  being  known  as  St. 
John's  door — Porta  di  San  Giovanni.  The  mosaics  of  the 
North  Dome,  (best  seen  hereafter  from  above,)  have  also 
reference  to  the  history  of  this  Evangelist,  displaced  to 
make  room  for  the  growing  cult  of  the  Madonna. 

The  Gallery. 

Before  proceeding  any  further  with  the  examination  of 
the  lower  portion  of  the  church,  I  recommend  you  next  to 
mount  the  staircase  which  leads  to  the  Gallery,  both  ex- 
terior and  interior.  The  sacristan  (who  is  generally  lounging 
about  the  Nave)  opens  the  door  (to  the  L.  of  the  St.  Mark 
portal  or  main  entrance  from  the  Atrium  into  the  church) 
for  30  centimes  per  person. 

Pay  beforehand.  Mount  the  steep  staircase  and  go  first 
to  the  Exterior  Gallery.     Here  you  can  observe  well  the 


II.]       BYZANTINE    VENICE:   ST.    MARK  S       57 

four  famous  Bronze  Horses.,  still  covered  with  abundant 
traces  of  gilding.  From  this  point  also  you  can  note  the 
sculpture  on  the  archivolt  of  the  main  arch.,  with  eight  figures 
of  patriarchs  and  prophets,  named  on  the  pedestals. 

Proceed  first  to  the  R.,  (with  a  good  view  over  the  Piazza,) 
and  turn  the  corner  towards  the  little  Piazza  dei  Leoni, 
where  you  can  more  closely  observe  the  Gothic  figures  on 
the  pinnacles  of  the  North  Facade.  They  are  arranged  in 
a  somewhat  odd  order,  (beginning  from  the  L.,)  of  Hope, 
Temperance,  Faith,  Prudence,  Charity,  the  two  cardinal 
virtues  being  thus  interposed  between  the  three  theological. 
This  is  also  the  best  point  of  view  for  the  decorative  detail 
(foliage,  prophets,  etc.)  of  the  Gothic  additions. 

Next,  proceed  past  the  Horses  again,  along  the  West 
Front,  as  far  as  the  S.W.  corner,  over  the  little  portico, 
which  gives  an  admirable  view  of  the  South  Facade,  with 
its  Byzantine  pillars,  pierced  stone-work,  and  Gothic  addi- 
tions. Excellent  outlook  on  the  Piazzetta  and  the  granite 
columns.  As  you  are  passing  along  the  West  Front,  on 
your  way  back,  observe  a  little  mosaic  of  St.  Nicholas  in  a 
niche,  bearing  the  name  of  its  artist,  Ettore  Locatelli,  (about 
1605.) 

Now,  re=enter  the  church.  The  great  arch  by  which 
you  enter  has  on  its  under  side  i6th  and  17th  century 
frescoes  in  the  centre,  (after  a  cartoon  by  Tintoretto,)  repre- 
senting the  Last  Judgment,  or  rather  what  is  called  the 
Preparation  of  the  Throne  preceding  it;— Our  Lord  between 
the  Blessed  Virgin  and  St.  John  :  beneath,  the  Cross  en- 
throned among  the  instruments  of  the  Passion  ;  Adam  and 
Eve  and  Cherubim  adoring.  Below,  south  side,  half  of  the 
Apostles,  on  clouds  ;  then,  under  them,  Paradise,  with  the 
Penitent  Thief  in  the  lower  right-hand  corner  :  north  side, 
above,  the  rest  of  the  Apostles  ;  below,  the  condemned,  with 
Judas  hanging  himself,  just  opposite  the  Penitent  Thief 

The  arch  next  to  this,  and  a  little  higher  in  level,  has  the 
Vision  of  St.  John  in  the  Apocalypse,  with  St.  John  sleep- 
ing ;  the  Seven  Golden  Candlesticks  ;  the  Angels  of  the 
Seven   Churches  of  Asia ;    St.  Michael  and   the  Dragon  ; 


58         BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

the  Supper  of  the  Lamb  ;  the  Woman  clothed  with  the 
Sun,  and  other  episodes  of  the  Apocalyptic  Vision  :  all  by 
the  Zuccati.  The  order  and  arrangement  of  all  these 
mosaics  will  be  explained  hereafter. 

Return  back  towards  the  head  of  the  stairs  by  which  you 
entered,  and  proceed  by  the  outer  gallery  of  the  North 
Aisle.  Stand  above  the  long  north  ai'cade,  in  order  to  view 
the  FIRST  DOME, — the  Dome  of  the  West  Arm  or  Nave. 
Its  subject  is  the  Descent  of  the  Holy  Ghost.  In  the 
centre,  the  Spirit  descends  as  a  dove  upon  the  twelve 
Apostles  ;  below,  between  the  sixteen  windows,  are  various 
races,  Parthians,  Medes,  Elamites,  etc.,  represented  each 
by  one  man  and  one  woman  in  what  the  mosaicist  believed 
to  be  the  costume  of  their  country  ;  all  are  listening  to  the 
Apostles  speaking  to  them  in  their  own  tongues.  Beneath, 
in  the  pendentives,  are  four  majestic  angels,  singing  the 
"  Holy,  Holy,  Holy  ! "  All  these  are  in  the  style  of  the 
13th  or  14th  century. 

This  arcade  is  also  the  best  point  from  which  to  observe 
(with  an  opera-glass)  the  beautiful  decorative  sculpture  on 
the  parapet  of  the  gallery  opposite. 

In  the  arch  behind  you,  (North  Wall  of  the  N.  Aisle,) 
above  the  lovely  youthful  Byzantine  Christ,  is  a  representa- 
tion of  Paradise,  of  the  17th  century  ;  over  it,  the  trial  and 
martyrdoms  of  St.  Peter  and  St.  Paul  :  after  cartoons  by 
Palma.  I  do  not  attempt  to  give  all  the  subjects  of  these 
later  mosaics,  partly  because  of  their  number,  and  partly 
also  because  they  are  almost  always  self-explanatory,  or 
sufficiently  explained  by  their  Latin  inscriptions. 

Continue  on  to  the  small  compartment  in  the  angle 
between  the  Nave  and  the  North  Transept.  This  is 
the  best  point  of  view  for  one-half  of  the  great  arch 
between  the  Western  and  Central  Domes.  It  represents, 
below,  the  Kiss  of  Judas,  and  Christ  wearing  the  Crown  of 
Thorns  :  Pilate  bears  a  roll  with  the  question,  "  Shall  I 
crucify  your  King  ?"  answered  by  the  Jew  to  the  L.,  "  Crucify 
Him!"  Above,  the  Crucifixion,  with  Our  Lady,  St.  John, 
the   Maries,  and    Roman  soldiers  :    Longinus   piercing  the 


II.]       BYZANTINE    VENICE:   ST.    MARK'S        59 

side,  etc.  In  the  centre  of  the  arch,  the  Maries  at  the 
Sepulchre.  (The  remainder  of  this  arch  is  best  seen  from 
the  opposite  gallery.) 

This  station  is  also  one  of  the  most  satisfactory  for 
observing  the  great  **central  DOME  ;  its  subject  is  the 
Ascension.  In  the  centre,  Christ  is  borne  aloft  in  a  firma- 
ment by  four  angels  ;  beneath,  secoftd  tier,  over  the  altar 
arch,  stands  *Our  Lady,  dark-robed,  a  most  beautiful  figure, 
attended  by  the  two  angels  who  say,  "  Why  stand  ye 
here?"  etc.  All  round  are  the  twelve  Apostles,  divided  by 
trees  of  various  patterns  to  symbolise  the  Mount  of  Olives. 
The  rhyming  Latin  verses  are  excellent.  Beneath,  third 
tier,  between  the  windows,  are  the  Virtues  and  Beatitudes, 
(beginning  to  the  R.  of  Our  Lady,)  in  the  following  order  : 
Temperance,  Prudence,  Humility,  Kindliness,  Penitence  ; 
(to  the  L.  of  Our  Lady),  Courage  or  Fortitude,  tearing  open 
the  lion's  jaw.  The  other  figures  will  be  better  observed 
from  other  standpoints.  In  the  pendentives  are  the  four 
Evangelists  writing  their  Gospels  ;  beneath  them,  figures 
of  the  Four  Rivers  of  Paradise,  named  as  Gyon,  Euphrate, 
Tygre,  Fison.  (Recollect  that  on  the  main  fagade  the 
Rivers  of  Paradise  similarly  stand  beneath  and  symbolise 
the  four  Evangelists.)  This  grand  central  dome  is  well 
worthy  of  the  noble  position  it  occupies. 

Now,  proceed  along  the  outer  gallery  of  the  North 
Transept.  The  arch  overhead  tells  the  story  of  the  Life 
of  Our  Lady  (from  the  apocryphal  Protevaui^elion)  in  13th- 
century  mosaics  (see  Mrs.  Jameson,  Lege)ids  of  the  Ma- 
donna). The  centre  is  occupied  by  a  fine  Greek  cross. 
The  story  begins  on  the  L.  hand  side,  and  runs  round  on 
the  Kpper  le-oel  first.  L.  side,  above,  L.  compartment,  St. 
Zacharias  enters  the  temple  to  place  the  wands  of  the 
various  suitors,  the  budding  of  one  of  which  will  miraculously 
determine  the  Virgin's  husband  :  R.  compartment,  the  mar- 
riage of  Our  Lady  to  Joseph  by  St.  Zacharias  ;  the  little 
Virgin  is  here  represented  as  a  child  about  twelve  years  old. 
Opposite,  or  R.  side,  above,  L.  compartment,  the  Annuncia- 
tion,  Mary  drawing  water   at  a  well  meanwhile  :    R.  com- 


6o         BYZANTINE    VENICE:   ST.    MARK'S      [n. 

partment,  the  High  Priest  presents  Mary  with  a  vase  of 
pigment,  wherewith  to  dye  the  veil  of  the  Temple.  Now, 
take  the  /oTi^er  levels  beginning  again  on  the  L.  as  before  : — 
L.  compartment,  the  meeting  of  Mary  and  Elizabeth  (Mary's 
name  ignorantly  restored  as  Hanna)  ;  R.  compartment, 
Joseph,  being  an  austere  man,  reproaches  the  Blessed 
Virgin.  R.  side,  L.  compartment,  the  angel  warns  Joseph 
in  a  dream  that  Mary  has  conceived  of  the  Holy  Ghost  : 
R.  compartment,  Joseph  and  Mary  go  to  Bethlehem  to  be 
taxed  The  story  continues  on  the  main  wall  under  the 
arch,  opposite  you,  below  the  windows.  The  angel  warns 
Joseph  to  flee  mto  Egypt  ;  the  return  to  Nazareth  (as 
described  m  the  Latm  verse ;  otherwise,  one  might  have 
taken  it  for  a  flight  into  Egypt)  :  Christ  among  the  doctors 
in  the  Temple.  This  curious  series  deserves  close  study. 
Its  Latm  inscriptions  are  quaint  and  crabbed,  but  full  of 
meaning. 

This  part  of  the  gallery  is  also  the  best  point  for 
observing  the  great  NORTH  dome,  which  contains  the 
history  of  St.  John  the  Evangelist  (formerly  patron  of 
this  part  of  the  building)  :  the  raising  of  Drusiana,  Stacteus 
on  his  bed,  the  overthrow  of  the  temple  of  Diana,  and  other 
miracles,  told  in  relatively  few  figures.  (The  light  here  is 
seldom  satisfactory.)  On  the  pendentives  are  the  Four 
Fathers  of  the  Church,  fine  17th-century  mosaics  :  St. 
Ambrose  is  early. 

The  end  wall  of  the  North  Transept  has  a  Tree  of 
Jesse.  The  Patriarch  lies  sleeping  below,  and  from  his 
body  springs  a  genealogical  tree  of  the  Blessed  Virgin, 
Our  Lady  herself  occupying  the  topmost  branches,  (i6th 
century.) 

From  this  point,  some  more  of  the  Virtues  and  Apostles 
in  the  great  Central  Dome  can  be  well  observed. 

Now  return  along  the  whole  length  of  this  gallery,  till 
you  are  past  the  spot  by  which  you  entered.  Mount  the 
little  steps,  cross  the  wide  gallery  by  the  large  window, 
(under  the  Last  Judgment,)  and  enter  the  gallery  of  the 
South  Aisle. 


II.]       BYZANTINE    VENICE:   ST     MARK'S        6l 

Pass  along  this  gallery  till  you  reach  the  middle  of  the 
arcade  which  separates  the  Nave  from  the  South  Aisle. 

On  the  wall  opposite  you,  (above  the  beautiful  Byzantine 
Madonna,)  is  a  large  continuous  mosaic  of  the  Agony  in 
the  Garden,  representing  Christ  praying  ;  His  return  to  the 
sleeping  Apostles  ;  His  second  prayer ;  His  chiding  of 
Peter;  the  angel  with  the  cup  (no  cup  now  visible);  and 
His  saying,  "  Sleep  on,"  all  rudely  simple. 

The  arch  over  your  head  has  early  mosaics  of  the 
miracles  and  deaths  of  the  Apostles.  On  the  L.  side  of 
the  arch,  above,  St.  James  the  Lesser  is  cast  from  the  tower, 
(to  the  L.  are  the  Jews,  to  the  R.  the  Pharisees,)  and  the 
Beheading  of  James.  R.  of  this,  burial  of  the  Apostle. 
Below,  St.  Philip  overthrows  the  statue  of  Mars,  and  drives 
away  the  demon  (in  the  shape  of  a  dragon)  which  inhabited 
it,  (legend  given  in  my  Guide  to  Florence,  Santa  Maria 
Novella  )  R.  of  this,  he  preaches  to  the  Scythians  ;  further 
R.  his  burial.  On  the  R.  side  of  the  arch,  above,  St. 
Bartholomew  preaches  in  Upper  India  ;  the  priests  accuse 
him  ;  the  flaying  of  St.  Bartholomew.  Beloiu,  St.  Matthew 
preaches  in  Ethiopia  ;  the  king  of  the  Ethiopians  condemns 
St.  Matthew  to  be  beheaded  at  the  altar.  On  the  window 
wall,  (above  the  Agony  in  the  Garden,)  ill  seen  except  on 
a  bright  day,  St.  Simon  and  St.  Jude  overthrow  the  statues 
of  the  sun  and  of  the  moon,  and  are  martyred  accordingly. 

Now  pass  on  along  the  gallery  in  the  same  direction  till 
you  reach  the  top  of  the  arcade  which  separates  the  South 
Transept  from  its  Western  Aisle.  The  west  wall  of  the 
Transept,  to  your  R.  as  you  walk,  is  covered  by  one  of  the 
most  ancient  and  interesting  **mosaics  in  the  whole  build- 
ing—perhaps the  very  oldest  of  all.  It  represents  the 
discovery  of  the  body  of  St.  Mark,  which  had  been  lost 
after  the  fire  of  976.  When  the  existing  church  was  com- 
pleted in  1094,  and  about  to  be  dedicated,  the  Doge  could 
not  tell  what  had  become  of  the  sacred  corpse,  and  instituted 
a  fast  for  its  recovery.  To  the  L.  the  Patriarch  officiates  at 
the  altar  of  this  very  church,  whose  interior  is  seen  in  rude 
diagrammatic   section,   with    its   five    domes,   arches,   and 


62         BYZANTINE    VENICE:   ST.    AI ARK'S      [ii. 

galleries.  A  deacon  holds  the  book.  Behind  the  Patriarch 
the  Doge,  (Vitale  Faliero,)  marked  by  his  title  of  Dux,  bows 
in  prayer ;  to  the  extreme  L.  the  Venetian  nobles  and  people 
kneel  in  attitudes  of  prostrate  supplication.  This  mosaic 
thus  tells  the  tale  of  the  solemn  fast  for  the  recovery  of 
the  saint's  body.  The  mosaic  to  the  R.,  evidently  a  little 
later,  shows  a  similar  view  of  the  church,  this  time  rather 
more  in  perspective,  though  still  in  section  and  very  dia- 
grammatic. A  pillar  to  the  extreme  R.  has  opened  in 
answer  to  the  prayers,  and  exposed  the  lost  sarcophagus  of 
the  Evangelist.  The  Patriarch  stands  by  it  ;  near  him  the 
Doge,  (again  marked  as  Dux,  and  with  a  simple  early  ducal 
cap,  dififerent  from  that  of  later  ages  ;)  beyond  are  nobles, 
ladies,  and  children,  the  latter  ill  represented,  one  wearing 
a  crown.  I  advise  you  to  study  every  detail  of  these  ex- 
tremely naive  and  tentative  but  very  beautiful  and  touching 
works.  They  show  well  the  interior  of  the  church  in  1094, 
and  also  the  costumes  of  the  period. 

This  is  likewise  a  good  point  from  which  to  view  the 
Southern  Dome  and  its  surroundings.  It  contains  only 
four  figures  of  four  important  local  saints— -St.  Blaise,  (who 
has  two  churches  in  Venice,)  St.  Leonard,  (whose  chapel 
was  just  beneath,)  St.  Nicholas,  (who  lies  at  the  Lido,)  and 
St.  Clement,  (whose  chapel  is  one  of  the  external  apsidal 
pair.)  In  the  pendentives  are  figures  of  four  women 
martyrs,  known  as  the  Four  Great  Virgins  of  Aquileia, 
(mother-city  of  Venice:)  St.  Dorothy,  (particularly  beautiful,) 
St.  Thecla,  (i6th  century,)  St.  Euphemia,  and  St.  Erasma. 
These  mark  the  connection  of  Venice  with  the  old  Patri- 
archate on  the  Latin  mainland. 

The  arch  between  this  dome  and  the  central  one  has 
mosaics  of  scenes  from  the  Ministry  of  Christ  ;  visible  from 
this  arcade  are,  above^  the  Temptation  in  the  Wilderness  ; 
the  Devil,  as  a  black-crowned  angel,  offers  Christ  stones  to 
make  into  bread  ;  places  him  on  a  pinnacle  of  the  Temple  ; 
leads  him  on  to  an  exceeding  high  mountain  ;  is  discomfited, 
and  flies  away,  (with  good  dramatic  action  ;)  angels  come 
and  minister  unto  him.     Below,  the  Entry  into  Jerusalem, 


II.]        BYZANTINE    VENICE:   ST.    MARK'S       63 

with  children  and  others  casting  their  clothing  before  the 
Saviour,  who  rides  on  a  white  ass  ;  behind  him,  the  Apostles  ; 
in  front  of  him,  Jews  and  the  gate  of  Jerusalem.  (The  in- 
terdependence of  all  these  scenes  is  explained  later.) 

Now,  look  across  the  Transept  to  the  wall  with  three 
windows,  just  opposite  you.  This  contains,  above,  uninter- 
esting mosaics  of  Peter  walking  on  the  water,  the  paralytic 
with  his  bed,  etc.  Beneath  these  are  two  tiers  of  subjects 
relating  to  the  life  of  St.  Leonard,  whose  chapel,  (now  that 
of  the  Holy  Sacrament,)  originally  stood  below,  while  his 
image  is  found  on  the  great  S.  Dome,  just  above  it.  These 
works,  though  late,  are  interesting  through  their  associations 
with  the  saint,  now  dispossessed,  who  gave  his  name  to  the 
transept  :  they  represent,  above,  St.  Leonard  held  at  the  font 
by  King  Clovis ;  St.  Leonard  healing  the  Queen ;  St. 
Leonard  distributing  alms  to  beggars  :  below,  St.  Leonard 
making  water  gush  forth  miraculously  ;  St.  Leonard  striking 
off  fetters  from  prisoners,  (whose  patron  saint  he  was  :)  St. 
Leonard,  after  his  death,  appearing  from  heaven  to  rescue  a 
prisoner,  a  figure  which  may  very  probably  have  suggested 
Tintoretto's  famous  St.  Mark,  now  in  the  Academy.  Re- 
member St.  Leonard  when  you  visit  the  latter. 

The  arch  above  this  series  of  frescoes  has  transitional 
works,  representing  Christ's  miracles  of  healing. 

The  S.  window  is  a  rose  or  wheel,  with  Gothic  tracery. 
A  few  other  Gothic  elements,  all  intrusive,  may  be  found  in 
other  parts  of  the  building. 

From  the  gallery  above  the  arcade  which  separates  the 
South  Transept  from  the  chapel  (once  St.  Leonard's)  of  the 
Holy  Sacrament,  (if  open,)  you  can  see  well  the  other  two 
figures  in  the  6*.  Dome,  and  the  remainder  of  the  arch  be- 
tween the  Central  and  S.  Domes,  representing  the  Last 
Supper  and  Christ  washing  the  feet  of  the  Apostles. 
Various  parts  of  this  gallery  are  also  good  stations  for  ob- 
serving the  other  figures  of  Apostles  and  Beatitudes  (all  with 
their  names  marked)  on  the  great  Central  Dome.  You 
must  make  these  out  from  various  points  of  view,  with  an 
opera-glass. 


64         BYZANTINE    VENICE:   ST.    iM ARK'S      [ii. 

Utilise  these  galleries,  too,  for  examining  closely  (from 
near  by)  one  or  two  mosaics  at  the  level  of  the  eye,  in 
order  to  perceive  the  way  in  which  the  component  pieces  are 
arranged,  especially  in  the  treatment  of  faces  and  garments. 
The  technique  of  the  mosaics  may  be  traced  onward  from 
the  early  Byzantine  style,  through  the  chapel  of  St.  Isidore 
(very  peculiar)  and  that  of  the  Mascoli,  to  the  very  perfect 
workmanship  of  the  Sacristy,  the  culminating  point  of  this 
art,  viewed  as  a  handicraft. 

As  you  return,  pause  at  the  corner  by  the  gallery  of  the 
South  Aisle,  (near  the  words  "  Lapis  angularis,")  in  order  to 
observe  the  other  half  of  the  great  arch  between  the 
Western  and  Central  Domes.  It  represents,  above,  Christ 
rescuing  souls  from  Hades,  and,  below,  the  Resurrection, 
with  the  Maries  and  the  doubting  Thomas.  The  inter- 
dependence and  relation  of  all  these  subjects  will  be  ex- 
plained later. 

This  corner  is  also  the  best  point  of  view  for  the  beautiful 
figure  of  *Gyon  (Gihon),  one  of  the  Rivers  of  Paradise,  on 
the  pendentives  of  the  Central  Dome.  Other  such  points 
I  leave  to  the  reader.  Stand  long  and  examine  each  detail 
separately. 

North  Transept. 

After  having  thus  observed  the  mosaics  visible  from  the 
Gallery,  you  may  profitably  resume  your  examination  of  the 
ground  floor  of  the  church. 

Begin  with  the  North  Transept.  Here,  we  have  already 
looked  at  the  West  Aisle  and  the  little  chapel  of  Our  Lady 
of  the  Mascoli.  The  central  portion  of  the  Transept  con- 
tains nothing  of  special  interest  except  the  Dome.  The 
East  Aisle  of  the  Transept,  however,  (formerly  the  Chapel 
of  St.  John,)  has  been  railed  off  as  the  Chapel  of  Our  Lady, 
who  is  at  the  present  day  (I  speak  of  visible  facts  only)  the 
central  object  of  veneration  in  the  whole  Basilica.  The 
entire  space  in  front  of  this  chapel  is  therefore  constantly 
thronged  with  votaries  from  morning  till  night,  under  condi- 
tions which  make  it  difficult  to  examine  the  works  of  art  it 
contains  without  grave  indelicacy.     Look  at  it  cursorily. 


I  I.J       BYZANTINE    VENICE:   ST.    MARK'S        65 

The  central  object  is  a  great  canopy  or  baldacchino,  en- 
shrining a  ^miraculous  portrait  of  Our  Lady  with  the 
Child,  deeply  venerated  by  the  Venetians,  and  the  most  re- 
vered object  in  the  whole  city.  It  is  said  to  have  been 
painted  by  St.  Luke  the  Evangelist,  and  is  certainly  an 
ancient  Byzantine  work,  not  later  in  date  than  the  8th  cen- 
tury. It  was  brought  to  Venice  in  the  13th  century,  and  was 
transported  to  this  altar  in  1618,  when  the  former  dedication 
to  St.  John  was  altered,  and  Our  Lady  made  patroness  in 
his  stead.  During  the  greater  part  of  the  week,  this  por- 
trait is  hidden  from  the  eyes  of  the  faithful  behind  handsome 
bronze  folding  doors,  which  contain,  above,  a  facsimile  of 
the  miraculous  image  in  relief,  and  below,  the  figures  of  St. 
Mark  (patron  of  the  church)  and  St.  John  the  Evangelist 
(former  patron  of  the  chapel).  These  doors  are  opened, 
however,  on  Saturdays,  when  the  picture  itself,  blackened 
with  age,  may  be  seen  (not  well)  from  a  little  distance 
through  an  opera-glass.  It  is  half  obscured  by  necklets  and 
other  rich  ex  void's.  In  character,  it  seems  to  be  merely  an 
ordinary  Greek  icon,  much  deteriorated  by  age.  The 
chapel  itself  is  also  filled  with  ugly  votive  offerings,  but  it 
possesses  some  admirable  sculptured  reliefs,  (L.  two  Saints  in 
niches,  R.  the  Madonna  and  Child.)  I  do  not  describe  the 
various  objects  in  this  very  holy  place  at  length,  however,  as 
it  is  not  practicable  to  scrutinise  any  of  them  without  causing 
just  annoyance  to  the  numerous  worshippers,  for  whose  sake 
it  is  well  to  remember  the  church  exists.  English  tourists 
are  often  culpably  wanting  in  respect  to  this  holy  object. 

Between  the  Chapel  of  Our  Lady  and  the  Vestibule  of  the 
Chapel  of  St.  Peter  (to  the  R.)  stands  an  altar  of  St.  Paul, 
surmounted  by  a  statue  of  the  Apostle,  bearing  a  sword  :  (see 
plan.)  An  inscription  states  that  it  was  erected  under  "  the 
famous  and  pious  lord  and  Doge,  Cristoforo  Moro"  (1462). 

Just  beyond  this  altar  is  the  Vestibule  of  the  Chapel  of 
St.  Peter,  which  latter  is  railed  off  by  a  handsome  screen, 
surmounted  by  five  statues,  (about  1396,)  the  work  of  the 
first  great  Venetian  sculptors,  the  brothers  Massegne.  The 
figures  represent,  in  the  centre,  the  Madonna  and  Child  ;  at 

G.  V.  E 


66         BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

the  sides,  four  great  women  saints  connected  with  Venice — 
Mary  Magdalen,  Cecilia,  Helena,  and  Margaret.  Pass 
this  chapel  for  the  present  without  entering  it  beyond  the 
screen. 

To  your  R.,  as  you  face  this  screen,  is  one  of  the  two  mag- 
nificent octagonal  Pulpits.  This  one  is  double,  or  in  two 
stories.  The  exquisite  marble-work  of  its  staircase  should 
be  closely  examined.  So  should  all  its  architectural  features. 
It  is  one  of  the  finest  things  in  the  Basilica. 

South  Transept. 

The  South  Transept  has  in  its  corner  arcades  at  the 
West  End  (where  it  joins  the  Nave)  good  early  mosaic 
figures  of  saints,  mostly  named  ;  among  them  that  of  *St. 
Catharine  is  particularly  beautiful.  Close  by  is  a  fine  relief 
of  Our  Lady  and  the  Child.  Its  West  Aisle  ends  in  a 
somewhat  Cairene  door,  leading  to  the  Treasury,  (omit  for 
the  present  :)  above  it  is  a  pretty  mosaic  of  angels  holding 
the  sign  of  the  Cross.  Over  the  South  Door  ot  the  main 
part  of  the  Transept  is  a  mosaic  of  St.  Mark  :  this  door 
leads  direct  into  the  Doge's  Palace. 

The  East  Aisle  of  this  Transept  is  divided  off  (like  the 
Chapel  of  Our  Lady)  into  a  Chapel  of  the  Holy  Sacrament, 
where  the  consecrated  Host  is  now  exhibited  :  it  was 
formerly  dedicated  to  St.  Leonard.  (Hence  the  mosaics 
above  it.)  It  has  also  good  mosaics  on  the  under  side  of 
the  arch  supporting  its  gallery. 

Between  it  and  the  vestibule  of  the  next  chapel  is  the 
altar  of  St.  James,  containing  his  statue,  and  answering  to 
that  of  St.  Paul,  opposite. 

The  west  compartment  (Vestibule  of  St.  Clement)  con- 
tains the  stairs  which  descend  to  the  Crypt  (closed)  :  on  its 
L.  side  is  the  second  of  the  handsome  octagonal  ambones,  or 
Pulpits.  At  the  base  of  the  steps  which  go  up  to  this  pul- 
pit are  two  fine  *decorative  reliefs  of  peacocks.  Near  the 
steps  to  the  Crypt,  observe  a  particularly  beautiful  relief  ol 
Our  Lady  and  the  Child  ;  above  her,  on  the  arch,  a  quaint 
mosaic  of  that   rather   mythical   embodiment   of  bourgeois 


n.]        BYZANTINE    VENICE:   ST.    MARK'S       67 

beneficence,  St.  Uomobono  of  Cremona,  engaged  in  the  dis- 
tribution of  charity  ;  he  is  balanced  on  the  other  side  by  St. 
Boniface.  Many  of  these  minor  saints  are  patrons  of 
neighbouring  towns  with  which  Venice  had  commercial  re- 
lations. 

The  screen  which  rails  off  the  Chapel  of  St.  Clement  (pass 
it  by  for  the  present)  is  like  the  one  which  balances  it  on  the 
N.  side ;  it  also  has  five  excellent  statues  by  the  Massegne. 
The  figures  represent,  in  the  centre.  Our  Lady  with  the 
Child :  at  the  sides,  four  other  great  women  saints — Chris- 
tina, Clara,  Catharine,  Agnes. 

Understand  the  arrangement  of  these  two  Transepts,  and 
of  the  Central  Area  of  the  church  between  them,  before  you 
proceed  to  the  examination  of  the  Eastern  Area,  with  its 
three  apses.  This  central  area,  you  may  note,  has  mosaics 
of  the  whole  Gospel  history — a  point  which  will  lead  up  to 
the  final  comprehension  of  the  general  arrangement.  The 
series  begins  on  the  E.  arch,  (arch  of  the  Presbytery,)  is  con- 
tinued on  the  N.  and  then  on  the  S.  side,  goes  on  then  to  the 
W.  arch,  with  the  Passion  and  Resurrection,  and  ends  in  the 
Central  Dome  with  the  Ascension.  This  first  general  clue 
may  help  you  to  spell  out  for  yourself  the  Key  to  the  whole, 
which  I  shall  give  later,  illustrated  by  a  diagram. 

The  Presbytery. 

You  may  now  go  on  to  inspect  the  Presbytery,  or  Main 
Apse,  which  is  so  exceptionally  rich  in  objects  of  interest 
that  I  can  only  briefly  call  attention  to  a  very  few  of  them. 

The  Presbytery  is  separated  from  the  Central  Area  by  a 
rood=loft,  or  screen,  of  rich  oriental  columns,  supporting 
an  architrave  which  bears  in  its  centre  the  Crucifix,  (1393,) 
with  the  symbols  of  the  four  Evangelists  at  the  corners.  L. 
and  R.  of  this  crucifix  are  Our  Lady,  and  St.  John  the 
Evangelist,  in  their  conventional  places.  The  other  twelve 
statues  are  those  of  St.  Mark  and  of  the  eleven  remaining 
Apostles.  All  these  are  by  the  Massegne,  (1393,  named  and 
dated,)  and  are  admirable  examples  of  transitional  Venetian 
sculpture.      Form    your   idea    of    the    beginnings    of    the 


68        BYZANTINE    VENICE:  ST.    MARK'S      [ir. 

Venetian  Renaissance  by  studying  these  figures,  with  those 
of  the  women  saints  on  the  lateral  screens. 

The  arch  over  the  rood-loft  has  mosaics  from  designs  by 
Tintoretto,  with  episodes  from  the  infancy  and  ministry  of 
the  Saviour. 

Pass  through  the  screen  and  enter  the  first  compartment 
of  the  Presbytery.  The  only  important  objects  here  are  six 
reliefs  in  bronze,  by  Sansovino,  representing  miracles  of  St. 
Mark,  let  into  the  parapet  of  the  little  boxes  or  singing 
galleries  to  the  R.  and  L. 

The  Inner  Presbytery  is  locked;  the  Sacristan  will  open 
it  for  you  (a  few  sous). 

In  the  centre,  in  the  great  place  of  honour,  stands  the 
principal  object  of  the  whole  church,  the  shrine  to  which 
all  the  rest  is  merely  subservient.  This  holy  of  holies  is  the 
High  Altar,  containing  within  it,  (as  an  inscription  at  the 
back  testifies,)  the  actual  body  of  the  Evangelist  St.  Mark, 
whose  miraculous  preservation  and  discovery  after  the  fire 
we  saw  depicted  in  the  mosaics  of  the  South  Transept. 

The  High  Altar,  in  accordance  with  its  importance,  is 
covered  by  a  rich  canopy  or  baldacchino,  of  verd-antique, 
supported  at  the  angles  by  four  *carved  pillars  in  cipollino, 
of  extraordinarily  rich  and  intricate  workmanship.  These 
are  splendid  specimens  of  early  Italian  carving,  possibly  of 
the  loth  century,  and  certainly  not  later  than  the  nth. 
The  confused  groups  of  figures  with  which  they  are  entirely 
covered,  however,  can  only  be  deciphered,  for  the  most  part, 
by  the  aid  of  the  inscriptions,  so  little  is  there  in  them  of 
dramatic  action.  They  are  intended  to  narrate  in  brief  the 
whole  history  of  Our  Lady  and  of  the  Life  and  Death  of  the 
Saviour  :  but  they  do  it  with  the  feebleness  of  the  darkest 
age.  The  isi  pillar,  to  the  L.  at  the  back,  (N.E.,)  tells  the 
story  of  the  Blessed  Virgin  from  the  rejection  of  her  father 
Joachim  in  the  Temple  to  her  marriage  with  Joseph  :  the 
scenes  are  those  usual  in  this  set  of  subjects  :  the  names 
suffice  to  identify  them.  The  2nd  pillar,  on  the  L.  in  front, 
(N.W.,)  has  the  life  of  Our  Lord  from  the  Annunciation  to 
the   miracle   of    the   loaves   and    fishes.      The   yd  pillar, 


II.]       BYZANTINE    VENICE:   ST.   MARK'S        69 

diagonally  opposite  to  the  last,  at  the  R.  behind,  (S.E.,)  has 
the  same  history  from  the  episode  of  the  young  man  who 
wishes  to  bury  his  father  to  the  cure  of  the  leper.  The  4//1 
pillar.,  to  the  R.  in  front,  (S.W.,)  continues  the  story  of  the 
Passion  to  the  Ascension  and  Christ  in  glory.  (Fully  to 
describe  the  subjects,  over  100  in  number,  thus  represented, 
is  beyond  my  space  :  nor  do  I  recommend  any,  save  ad- 
vanced students  with  abundant  time,  to  tackle  them.  They 
are  hard  to  make  out,  but  well  deserve  the  attention  of  those 
who  already  know  the  art  of  the  period  from  ivories,  etc.) 
On  the  summit  of  the  canopy  are  two  figures  of  Our 
Saviour,  front  and  back  ;  at  the  corners,  the  four  Evan- 
gelists.    A  wonderful  work,  all  told,  of  immense  interest. 

The  raised  back  of  the  altar  is  formed  by  the  famous  and 
exquisite  **PaIa  d'Oro,  or  golden  altar-piece.  This,  the 
most  magnificent  e.xisting  example  of  the  early  medifeval 
jewellers'  craft,  is  covered  by  a  curtain  on  ordinary  occa- 
sions, and  is  only  publicly  exposed  for  a  few  days  at  Easter. 
It  may,  however,  be  viewed,  (though  not  satisfactorily,)  from 
12  to  2  daily,  for  a  payment  of  25  c.  per  person.  (Enquire 
of  the  Sacristan.) 

A  full  description  of  this  magnificent  early  work,  and  ot 
the  subjects  represented  on  it,  would  extend  to  twenty  or 
thirty  pages  ;  I  must  therefore  content  myself  here  with  the 
briefest  indications  of  the  general  treatment. 

The  upper  part  (or  first  broad  band)  of  the  Pala  d'Oro  is 
the  oldest.  It  was  ordered  from  Constantinople  in  976, 
(after  the  fire  which  destroyed  the  first  church,)  by  Doge 
Pietro  Orseolo ;  its  whole  workmanship  is  entirely  Byzantine, 
its  inscriptions  are  in  Greek,  and  it  bears  little  reference  to 
Venice  or  Venetian  ideas.  It  is  a  monument  of  oriental 
Christian  iconography. 

The  central  plaque  of  this  upper  band  consists  of  a  figure 
of  the  Archangel  Michael  (very  much  venerated  in  the 
Greek  church)  between  a  pair  of  six-winged  seraphs,  his 
name  being  marked  in  Greek  letters.  The  three  plaques  on 
either  side  consist  of  scenes  from  the  Gospel  History  and  its 
sequel.     Beginning   on   the   L.,  these   are,  the   Entry  into 


70         BYZANTINE    VENICE:    ST.    MARK'S       [ii. 

Jerusalem  ;  the  Resurrection,  (so  inscribed  in  Greek,  but  in 
reality  Chiist  releasing  Adam  and  Eve  from  Hades;)  and 
the  Crucifixion  :  this  last  plaque  must  originally  have  pre- 
ceded the  previous  one,  and  the  two  must  have  been  trans- 
posed in  subsequent  alterations  made  by  ignorant  western 
workmen.  R.  of  the  central  figure  come  the  Ascension, 
with  the  Madonna,  angels,  and  apostles  below,  Christ  rising 
above ;  the  Descent  of  the  Holy  Ghost ;  and  the  Death  of 
the  Virgin,  whose  soul,  like  a  little  child,  Christ  receives. 
These  plaques  are  all  richly  covered  with  jewels,  and  have 
several  small  medallions  of  saints,  mostly  oriental,  and  bear- 
ing little  or  no  relation  to  Venice. 

The  lower  part  of  the  Pala  d'Oro  consists  to  a  large 
extent  of  separate  gold  altar-pieces,  some  of  which  were 
ordered  by  Doge  Ordelafo  Falier  in  1105,  while  others  were 
probably  looted  from  Constantinople  after  the  capture  of  the 
city  by  Doge  Enrico  Dandolo  in  1204.  These  plaques  have 
been  several  times  altered  and  remade  by  Venetian  gold- 
smiths, as  the  inscriptions  testify,  so  that  part  of  the  work 
here  is  Byzantine  and  part  native.  This  composite  lower 
portion  was  joined  to  the  upper,  in  all  probability,  about 
1345.  It  consists,  as  a  whole,  of  a  central  design,  (whose 
main  compartment  contains  a  Byzantine  figure  of  Christ 
blessing,  with  medallions  of  the  four  Evangelists,)  and  of 
minor  episodes.  Under  this  central  design  are  two  Latin 
verse  inscriptions,  giving  part  of  the  history  of  the  Pala. 
Between  these  inscriptions  stands  a  graceful  Byzantine 
figure  of  Our  Lady,  with  her  Greek  monogram.  The 
crowned  figures  to  the  R.  and  L.  of  this  Madonna  are  pecu- 
liarly interesting.  That  to  the  L.  has  a  Latin  inscription  to 
the  effect  that  it  represents  Ordelafo  Falier,  by  the  grace  of 
God  Duke  of  the  Venetians  :  that  to  the  R.  has  a  Greek 
inscription  stating  that  it  represents  Irene,  most  pious 
Empress.  As  a  matter  of  fact,  however,  the  Doge's  face  is 
a  later  substitution  for  that  of  the  Emperor  John  Comnenus, 
husband  of  this  very  Empress  Irene.  The  original  altar- 
piece  at  Constantinople  from  which  this  portion  has  been 
stolen  must  therefore  have  Ijeen  presented  by  the  Emperor 


II.]        BYZANTINE    VENICE:    ST.    MARK'S        7I 

and  Empress  to  St.  Sophia  :  the  Venetians  must  afterwards 
have  altered  the  figure  and  inscription  to  suit  their  own 
dead  Doge,  but  most  ungallantly  left  him  faced,  not  by  his 
own  Dogaressa,  but  by  the  Byzantine  Empress. 

The  other  designs  on  this  portion  of  the  Pala  consist 
mostly  of  figures  of  saints,  etc.,  the  upper  row  comprising 
adoring  angels,  the  second  row  the  twelve  apostles,  and  the 
third  row  prophets,  named  for  the  most  part  in  Latin  letters. 

Many  minor  subjects  are  comprised  in  the  Pala,  but  these 
are  as  many  as  the  casual  visitor  is  likely  to  examine.  The 
most  interesting  of  the  minor  subjects  is  a  set  detailing  the 
life  and  miracles  of  St.  Mark,  and  the  transference  of  his 
holy  body  to  Venice.  This  set  is  clearly  of  native  work- 
manship, and  bears  none  but  Latin  inscriptions :  it  re- 
sembles in  part  the  mosaics  in  the  church.  The  whole 
Pala,  above  and  below,  bristles  with  jewels  of  every  de- 
scription. 

The  front  of  the  altar,  also  affixed  on  state  occasions 
only,  is  of  silver  gilt. 

This  altar  of  St.  Mark,  containing  the  actual  body  of  the 
Evangelist,  must  be  regarded  as  the  focus  of  the  entire 
building,  towards  which  all  the  rest  converges.  It  was  in 
mediaeval  times  the  most  cherished  possession  of  Venice. 
To  its  L.  is  now  the  Patriarchal  Throne;  on  either  side 
are  the  stalls  of  the  Canons,  brought  here  from  the  dissolved 
Carthusian  monastery,  when  St.  Mark's  was  erected  into  a 
cathedral  in  1807. 

Behind  the  high  altar  stands  a  second  altar  (of  the  Holy 
Cross)  supported  by  six  beautiful  columns,  two  of  them  of 
verd-antique,  two  of  African  marble,  and  two  of  alabaster, 
semi-transparent ;  these  last,  spirally  twisted,  are  said  to 
have  come  from  Solomon's  Temple. 

Having  thus  examined  cursorily  the  chief  objects  on  the 
floor  of  the  presbytery,  you  may  proceed  to  notice  the 
mosaics  of  its  upper  portion. 

The  great  Eastern  Dome  has  in  its  centre  an  exquisite 
early  mosaic  figure  of  the  *beardless  Christ,  holding  what 
seems  to  be  a  roll  of  prophecy.     Beneath  Him  is  a  figure  of 


72         BYZANTINE    VENICE:    ST.    MARK'S       [n. 

Our  Lady,  to  the  extreme  E. ;  next  to  whom  are  her  royal 
and  prophetic  ancestors,  kings  David  and  Solomon.  The 
other  figures  are  those  of  the  prophets  who  prophesied  of 
Christ, — namely,  Isaiah,  Jeremiah,  Daniel,  Abdias,  Habakkuk, 
Hosea,  Jonah,  Zephaniah,  Haggai,  Zachariah,  and  Malachi, 
each  holding  a  scroll  inscribed  with  words  of  their  pro- 
phecies. (These  words — read  them  if  you  know  Latin — are 
always  of  great  importance  in  understanding  the  special 
meaning  of  the  figures.)  In  the  pendentives  are  the 
symbols  (six-winged)  of  the  four  Evangelists,  who  showed 
forth  Christ's  works  to  Christendom. 

The  small  arches  on  either  side  of  these  pendentives  have 
exquisite  decorative  work,  with  the  mystic  Lamb  and  other 
minor  figures. 

The  apse  is  occupied  by  a  late  but  very  fine  seated  figure 
of  Christ,  dated  1505.  This  is  the  terminal  object  of  the 
whole  church  ;  it  is  seen  in  front  of  you  from  the  main 
portal  at  the  moment  of  entering. 

Beneath  this  mosaic,  between  the  windows,  are  four 
figures  more  directly  connected  with  the  dedication  of  the 
church  and  with  the  holy  Body  which  lies  within  it.  To  the 
L.  is  St.  Nicholas,  commercial  patron  of  Venice  ;  next  to 
him  is  St.  Peter,  who  hands  St.  Mark  the  Gospel,  to  which 
he  has  given  his  approbation  ;  third  comes  St.  Mark  himself, 
who  receives  the  book  of  his  Gospel  from  St.  Peter  and 
hands  it  on  to  Hermagoras,  Bishop  of  Aquileia  ;  fourth  is 
Hermagoras  in  the  act  of  receiving  it.  The  last  three  of 
these  mosaics,  thus  prominently  placed  under  the  apsidal 
figure  of  Our  Saviour,  represent  the  importance  of  St.  Mark 
both  as  Evangelist  and  as  first  preacher  of  the  Gospel  in 
these  estuaries.  They  may  be  regarded  as  symbolical  of 
the  consecration  of  Mark  by  Peter,  and  of  Hermagoras  by 
Mark,  and  thus  of  the  direct  descent  of  the  Venetian 
Patriarchate  from  the  first  Bishop  of  Aquileia,  from  the 
holy  Evangelist,  and  from  the  Prince  of  the  Apostles.  The 
puzzling  presence  of  St.  Nicholas  in  this  group  is  explained 
by  the  Latin  verses  above,  which  state  that  the  bodies  of 
these  four  saints  rest  in  Venetian  soil,  and  that  on  them  the 


II.]        BYZANTINE    VENICE:    ST.    MARK'S       73 

Venetian  people  chiefly  trust  for  welfare  and  protection. 
These  verses  are  of  such  fundamental  importance  in  the 
scheme  of  the  church,  that,  contrary  to  my  usual  custom,  I 
transcribe  them  in  full,  in  the  original  rhyming  Latin  : — 

Quatuor  hos  jure  fuit  hie  proeponere  cure,  (curas.) 
Corporibus  quorum  prcecellit  honos  Venetorum. 
His  viget,  his  crescit,  terraque  mariquc  intescit : 
Integer  et  totus  sit  ab  his  numquamque  relictus. 

The  last  line  does  not  rhyme,  and  has  obviously  been  ill 
restored:  "remotus"  in  the  last  word  has  been  suggested 
as  the  original  reading  ;  but  I  think  the  old  verse  was  really 
"  Integer  et  tutus  sit  ab  his,  nunquamque  solutus."  The 
order  of  the  figures  is  comprehensible  if  we  notice  that  the 
central  pair  are  Peter  and  Mark,  the  outer  pair  Nicholas 
and  Hermagoras. 

Only  from  this  Presbytery,  and  from  the  two  Apsidal 
Chapels  we  have  next  to  visit,  can  the  ordinary  traveller  obtain 
a  sight  of  the  *early  mosaics  in  the  two  great  Arches  above 
the  Apsidal  Chapels,  R.  and  L.  of  the  sarcophagus  of  St.  Mark. 
(The  organ-gallery  above,  from  which  these  most  interesting 
works  are  best  seen,  is  unfortunately  closed  to  the  public, 
except  by  special  permission,  accorded  to  all  whose  claim  is 
properly  presented  to  the  courteous  officials.)  I  will  therefore 
describe  their  subjects  here,  leaving  the  reader  to  find  out 
for  himself  the  best  points  of  view  which  the  light  and  the 
conditions  of  the  moment  render  possible.  In  any  case,  they 
are  hard  to  decipher. 

The  great  arch  to  the  L.  of  the  High  Altar  (N.  wall  of 
Presbytery)  stands  over  the  Chapel  of  St.  Peter,  the  spiritual 
father  of  St.  Mark,  and  therefore  represents  the  life  and 
martyrdom  of  that  saint,  and  of  his  spiritual  son,  the  Evange- 
list. L.  side  (W.)  above,  St.  Peter  ordains  St.  Mark  as 
bishop  ;  St.  Mark  heals  a  leper  ;  St.  Mark  baptises  converts  : 
belojo,  Rome  (as  shown  by  the  inscription  in  the  arcade)  : 
St.  Peter  ordains  St.  Hermagoras  as  first  bishop  of  Aquileia: 
St.  Mark  takes  his  Gospel  to  Alexandria,  (so  marked  in  the 
arcade  : )  St.  Hermagoras  baptises  the  people  of  Aquileia  : 
these  mosaics  thus  directly  connect  Mark  and  Peter  with 


74         BYZANTINE    VENICE:    ST.    MARY'S       [ii. 

Venetian  Christianity.  R.  side  (E.)  beginning  below,  St. 
Mark,  warned  by  an  angel,  goes  to  Alexandria  :  he  heals  the 
cobbler  Anianus  :  above,  he  preaches  the  Gospel ;  he 
baptises. 

The  wall  beneath  this  arch  continues  the  history,  though 
not,  it  seems  to  me,  in  chronological  order  :  Herod  orders 
the  imprisonment  of  St.  Peter  :  the  angel  delivers  him  from 
prison.  The  martyrdom  of  St.  Mark  :  his  disciples  bury  his 
body. 

The  great  arch  to  the  R.  of  the  High  Altar,  (S.  wall  of 
Presbytery,)  stands  over  the  chapel  of  St.  Clement,  and  has 
perhaps  the  earliest,  and  certainly  the  most  interesting 
**mosaics  in  the  whole  Basilica.  These  represent  the 
history  of  the  body  of  St.  Mark  after  his  death,  and  its  direct 
connection  with  the  City  of  Venice.  To  the  L.,  above,  is 
seen  a  single  arch  with  the  word  "Alexandria  "  ;  R.  of  this 
the  priest  Theodore  and  the  monk  Stauracius,  Alexandrian 
Christians,  are  seen  confiding  the  body  of  St.  Mark  to  the 
care  of  Tribunus  and  Rusticus,  Venetian  traders  then  at 
Alexandria  ;  still  further  R.,  Tribunus  and  Rusticus,  (all 
the  figures  being  fully  named,)  carry  the  body  of  the  saint  in  a 
basket  for  embarkation  ;  the  inscription  above  naively  con- 
fesses that  this  is  an  act  of  theft — it  runs  :  Marciim  furantur : 
Kanzir  Id  vociferantur,  "  They  steal  the  body  of  Mark  ;  they 
cry  as  they  come,  Kanzir,"  i.e.,  pork.  Below,  they  hide  the 
body  in  the  sails  of  the  ship,  while  Theodore  and  Stauracius 
stand  by  in  order  to  deceive  the  Mohammedan  Custom-house 
officials.  On  the  wall  between  the  two  halves  of  the  arch, 
the  departure  of  the  bark  from  Alexandria  :  its  arrival  at 
Venice.  On  the  R.  side  of  the  arch  (again)  is  seen  above, 
the  miracle  of  the  storm,  in  which  the  ship  is  nearly  driven 
on  the  islands  of  the  lagoon,  marked  by  name,  estiiarie ;  St. 
Mark  appears  and  warns  the  sailors  of  their  danger  in 
another  quaint  rhyming  hexameter.  Beneath  this,  the 
Venetian  people,  represented  by  the  Doge,  the  senate,  the 
priests,  and  the  laity,  joyfully  receive  the  holy  body.  These 
mosaics  are  in  the  same  simple  and  direct  style  as  those 
telling  the  same  story  which  once  existed  on  the  fagadeof  the 


n.]        BYZANTINE    VENICE:   ST.    AI ARK'S       75 

church,  and  which  can  still  be  seen  in  Bellini's  interesting 
picture  in  the  Academy.  They  are  among  the  most  precious 
relics  of  early  art  in  Venice.  I  cannot,  howeverj  reduce  the 
series  to  any  quite  intelligible  order. 

Visit  the  Presbytery  often,  till  you  feel  that  you  have 
examined  its  contents  thoroughly.  There  are  many  other 
objects  worth  note  in  it,  which  the  necessary  limits  of  a 
Guide  Book  compel  me  to  pass  over. 

The  Apsidal  Chapel  to  the  L.  (N.)  is  that  of  St.  Peter, 
whose  connection  with  St.  Mark  I  have  already  sufficiently 
pointed  out.  It  is  very  dark,  except  on  the  brightest  days, 
and  has  on  its  a/Air  (which  contains  relics  of  St.  Peter)  and 
on  its  apse,  figures  of  its  patron,  the  Prince  of  the  Apostles. 
It  is,  however,  one  of  the  best  positions  for  seeing  portions  of 
the  mosaics,  already  mentioned,  on  the  wall  and  arch  above, 
(which  bear  reference  to  the  life  of  St.  Peter,  and  to  the  life 
and  martyrdom  of  his  follower,  St.  Mark,)  especially  those  of 
the  history  of  Peter  just  overhead. 

[A  door  of  exit  in  this  Chapel  gives  access  to  a  portion 
of  the  exterior  not  elsewhere  seen,  with  curious  fragments 
of  ancient  sculpture  embedded  in  the  wall.  You  can  pro- 
ceed hence  to  San  Zaccaria  and  the  Riva  degli  Schia- 
voni.] 

The  Apsidal  Chapel  to  the  R.  (S.)  is  that  of  5t.  Clement. 
It  contains  in  its  apse  a  mosaic  figure  of  the  saint  to  whom  it 
is  dedicated.  Its  altar  has  a  relief  of  the  Madonna  and  Child, 
between  St.  Peter  and  St.  Clement :  beneath  this,  St. 
Nicholas,  to  whom  St.  Andrew  presents  his  namesake,  Doge 
Andrea  Gritti  (the  donor)  balanced  by  St.  James  (whose 
altar  is  just  outside).  An  inscription  states  that  the  altar 
contains  relics,  not  only  of  St.  Clement,  but  also  of  Blaise, 
Stephen,  Hermagoras,  Fortunatus,  Cornelius,  Cyprian, 
Pancras,  Hippolytus,  Denis,  Cyril,  Sergius,  and  Bacchus, 
some  of  whose  figures  you  may  find  among  the  surrounding 
mosaics.  This  is  a  good  station  for  observing  portions  of 
mosaics  (already  described)  on  the  arch  above,  representing 
the  transference  of  the  body  of  St.  Mark  from  Alexandria  to 
Venice.     The  luall  has  episodes  from  the  life  of  St.  Clement, 


76  BYZANTINE    VENICE:    ST.    31  AUK'S      [ii. 

(Sismnius  struck  blind  because  he  tries  to  see  Mass,  being  a 
Pagan,  etc.) 

A  ifoor  on  the  R.  in  this  Chapel  (closed)  gives  direct  access 
to  the  court  of  the  Doge's  Palace,  and  was  the  portal  by 
which  the  Most  Serene  Prince  usually  entered  the  Basilica. 
Close  to  it,  therefore,  is  an  inscription  in  Latin  verse,  giving 
plain  and  by  no  means  courtier-like  advice  to  the  Doge  by 
name  as  to  his  spiritual  and  temporal  duties. 


If  the  reader  finds  that  these  notes  do  not  call  attention  to 
certain  objects  that  interest  him  in  the  church,  or  do  not 
solve  certain  problems  that  puzzle  him  he  must  remember 
that  a  full  description  of  all  the  works  of  art  in  St.  Mark's  on 
the  same  scale  would  far  outrun  the  entire  limits  of  this  little 
book.  Those  who  desire  fuller  information  must  turn  to  the 
works  of  Fas//iz' and  Saccardo  a-heiidy  mentioned.  My  own 
object  has  been  merely  to  give  my  readers  in  a  short  compass 
some  general  conception  of  this  glorious  church,  which  they 
may  afterwards  study  for  themselves  in  detail. 

Dominant  Ideas. 

You  are  by  this  time,  I  trust,  in  a  position  to  understand 
the  leading  religious  ideas  which  govern  the  arrangement 
of  the  decoration  in  St.  Mark's. 

The  Vestibule,  or  Atrium,  theoretically  supposed  to  be 
intended  for  the  use  of  those  who  have  not  yet  entered  the 
church,  (i.e.,  the  unbaptised  and  enquirers  or  catechumens,)  is 
decorated  with  very  ancient  mosaics  (Byzantine  in  type)  re. 
presenting  the  chief  facts  of  the  Old  Testament  history.  It 
represents  the  Jewish  Church,  previous  to  the  New  Dispensa- 
tion. The  series  begins  with  the  Creation,  and  ends  (as  usual) 
with  the  Fall  of  the  Manna,  which  last  is  always  regarded  as 
typical  of  the  spiritual  food,  that  is  to  say,  of  Christ.  The 
particular  episodes  selected  for  illustration  are  in  every  case 
those  which  mediceval  theologians  regarded  as  foreshadowing 
the  life  of  the  Saviour,  or  the  New  Testament  history.  Pre- 
cisely similar  and  almost  identical  scenes  occur  as  illumina-- 
tions  in  the  5th-century  illuminated  Greek  Bible  (fragmentary) 
in  the  Cottonian  collection. 


II.]        BYZANTINE    VENICE:   ST.    MARK'S       J  J 

The  7nm'n  central  line  or  axis  of  the  inner  church,  from 
the  Door  of  St.  Mark  to  the  Apse  at  the  E.  End,  is  devoted 
on  the  other  hand  ahnost  entirely  to  Christ  and  the  chief 
facts  of  the  Christian  religion,  (but  in  a  subsidiary  degree  to 
St.  Mark  the  patron.)  Contrary  to  what  one  might  expect, 
however,  the  Gospel  story  begins  at  the  Apse,  and  ends  by  the 
main  entrance.  If  you  stand  under  the  Central  Dome,  in 
front  of  the  Presbytery,  this  fact  will  become  quite  clear  to 
you.     In   the  Apse  which  faces  you,  and  which  forms  as  it 


LtONARO 


.'joHN  •;  <i2    : lisaafSKEf, :  a  |;  saiJIts; 


OUR  LADY 


sg 


3!3    1/  BESCEOT\  •     "^^ 


BECavCB» 

OF    BOC 


rtP? 


of 


■^  S   1  JioLY  ghost;'  '    p  S 

S'^'     I  APOCALYPSE'     o® 


GENERAL   SCHEME   OF    MOSAIC    DECORATION. 


were  the  focus  of  the  Basilica,  closing  the  vista  inward,  you 
have  the  gigantic  figure  of  the  Redeemer  himself.  In  the 
Eastern  Dome,  over  the  Presbytery,  are  represented  Christ 
and  the  Prophets  who  prophesied  of  him.  The  arch, 
between  this  dome  and  the  next,  has  the  facts  of  the  Infancy 
and  Ministry.  The  Central  Dome,  over  your  head,  shows 
the  Ascension,  with  our  Lady  and  the  twelve  Apostles.  It 
is  interposed  here  because  of  its  central  importance.  Look- 
ing westward  from  the  same  point,  the  Great  Arch  between 


78         BYZANTINE    VENICE:   ST.    MARK'S      [ii. 

the  two  Transepts  gives  the  history  of  the  Passion  and 
Resurrection  :  the  side  arches  have  the  immediate  episodes 
of  the  Gospel  history.  Thus  the  whole  central  area  tells 
the  hfe  of  Christ,  culminating  in  its  centre  with  the  Ascen- 
sion. In  the  Western  Dome  is  the  Descent  of  the  Holy 
Ghost,  with  the  Christian  people.  The  mosaics  on  either 
side  of  it  (in  the  Aisles)  give  the  acts  and  martyrdoms  of  the 
Apostles.  The  last  Great  Arch  has  the  Vision  of  the  Apoca- 
lypse, and  the  Last  Judgment.  This  main  trunk  or  axis  of 
the  church  is  thus  a  brief  epitome  of  the  entire  Christian 
doctrine — the  preparation  for  Christ  ;  the  Prophecies  of 
Christ  ;  the  life  and  Passion  of  Christ ;  the  Resurrection  ; 
the  Ascension ;  the  Descent  of  the  Holy  Ghost  ;  the  Second 
Advent ;  the  Last  Judgment ;  and  the  Life  of  the  World  to 
Come,  in  Paradise  or  in  torment. 

From  another  point  of  view,  however,  it  is  also  devoted  to 
St.  Mark  the  Evangelist,  to  whom  the  church  as  a  whole 
is  dedicated,  and  to  the  other  chief  saints  of  the  Venetian 
people.  The  Central  Door,  which  leads  to  it,  bears  his  name 
and  image  ;  as  you  look  up  from  this  door,  the  principal 
object  in  front  of  you,  behind  the  screen,  is  the  Hi^/i  Altar, 
which  contains  his  relics.  In  the  apse  are  his  mission  to 
Aquileia  and  his  connection  with  St.  Peter.  The  chief 
mosaics  to  the  L.  of  the  Presbytery  tell  the  history  of  his  life 
aftd  martyrdom;  the  chief  mosaics  to  the  R.  of  the  Presbytery 
tell  the  story  of  the  removal  of  his  body  to  Venice.  Christ  and 
St.  Mark,  with  the  Madonna,  are  thus  the  leading  chords  : 
in  the  mosaic  over  the  inner  side  of  the  main  portal  we  get 
these  three  figures  significantly  associated. 

The  line  of  the  L.  Aisle,  which  begins  at  the  Door  of  St. 
Peter,  ends  in  the  Apsidal  Chapel  of  St.  Peter,  the  spiritual 
father  of  St.  Mark.  St.  Peter  is  here  the  chief  figure.  The 
line  of  the  R.  Aisle,  which  begins  at  the  Door  of  St.  Clement, 
ends  at  the  Apsidal  Chapel  of  St.  Clement,  whose  relics  are 
preserved  in  its  altar,  but  whose  exact  connection  with 
this  church  I  do  not  quite  understand.  These  two  lines 
have  thus  a  clear  reference  to  the  Apsidal  Chapels. 

The  North  Transept,   entered  by  the  Door  of  St.  John, 


II.]        BYZANTINE    VENICE:   ST     MARK'S        79 

had  originally  over  it  the  image  of  that  saint,  whose  history 
is  represented  in  the  Dome  of  the  N.  Transept.  (His  figure 
is  still  withi?i  above  the  portal.)  The  Chapel  at  its  end 
was  dedicated  to  St.  John.  Since  the  17th  century,  however, 
the  Chapel  has  been  converted  into  that  of  the  miraculous 
Virgin  of  Constantinople ;  and  her  (false)  Byzantine  image 
has  been  substituted  over  the  entrance  door  for  that  of  St. 
John.  The  symbolism  of  this  portion  of  the  church,  originally 
Johannine,  has  thus  been  gravely  disturbed  by  the  increased 
modern  devotion  to  Our  Lady. 

The  South  Transept,  not  now  approached  by  any  direct 
door,  save  a  private  one  from  the  Doge's  Palace,  had  its 
Chapel  originally  dedicated  to  St.  Leonard,  a  saint  of  early 
importance  at  Venice,  to  whom  many  of  the  mosaics  above 
still  refer  ;  but  as  it  has  now  been  turned  into  a  Chapel  of  the 
Holy  Sacrament,  the  symbolism  has  been  obscured  here  also. 
Its  dome  has  four  great  local  patrons,  and  four  holy  Virgins 
of  Aquileia. 

These  are  only  a  few  brief  notes  on  the  central  conceptions 
of  the  decoration  ;  those  who  care  to  observe  closely  for 
themselves  the  relations  of  the  minor  parts,  and  the  distribu- 
tion of  relics  and  mosaics,  will  find  that  much  light  is  thus 
cast  upon  the  assemblage  of  saints  or  subjects  in  the  various 
arches.  In  no  part  of  the  building  is  the  grouping  arbitrary, 
though  it  has  often  been  made  to  seem  so  by  modern  alter- 
ations. Corresponding  sides  or  arches  have  usually  corre- 
sponding saints  or  episodes.  By  walking  up  each  of  the  main 
lines  from  end  to  end,  you  will  gain  an  increased  sense  of  the 
relations  of  the  component  members  ;  and  of  the  scheme  of 
their  symbolism.  Most  of  the  minor  saints  are  those  of  the 
various  Venetian  parishes,  or  those  whose  relics  are  pre- 
served m  Venice. 

As  a  whole,  the  Atrium  gives  the  Jewish  half  of  the  Chris- 
tian scheme  ;  the  interior  gives  the  Gospel  half  The  Old 
Testament  is  the  vestibule  ;  the  New  is  the  completed  church 
or  full  scheme  of  Salvation. 


80         BYZANTINE    VENICE:    ST.    MARK'S       [ii. 

The  separate  minor  portions  of  St.  Mark's  may  now  be 
more  briefly  visited.     Most  important  among  them  is  the 

Chapel  of  St.  Isidore. 

The  Cappella  di  5ant'  Isidoro  is  entered  from  the  L. 
or  N.  Transept.  (See  plan.)  Ask  the  Sacristan,  who  for  a 
few  sous  will  admit  you. 

The  story  of  this  chapel  is  best  told  in  the  words  of  the 
quaint  inscription  over  the  altar,  which  I  translate  in  full  as 
follows  : — 

"The  body  of  the  blessed  Isidore  is  enclosed  in  this  present 
sarcophagus.  It  was  brought  from  Chios  by  the  Lord 
Domenico  Michiel,  famous  Doge  of  the  Venetians,  in  the 
year  1125,  and  remained  laid  by  privately  in  this  church  of 
St.  Mark  until  the  beginning  of  the  building  of  this  chapel, 
erected  under  his  name  ;  which  was  begun  during  the 
Dukedom  of  the  Lord  Andrea  Dandolo,  famous  Doge  of 
the  Venetians,  and  in  the  time  of  the  noble  gentlemen, 
Lords  Marco  Loredan  and  Giovanni  Dolfin,  Procurators  of 
the  church  of  St.  Mark,  and  was  completed  under  the 
Dukedom  of  the  Lord  Giovanni  Gradonico,  famous  Doge  of 
the  Venetians,  and  in  the  time  of  the  noble  gentlemen,  the 
Lords  Marco  Loredan,  Nicolo  Lion,  and  Giovanni  Dolfin, 
Procurators  of  the  church  of  St.  Mark,  in  the  year  1355,  on 
the  loth  day  of  the  month  of  July."  It  thus  owes  its  origin  to 
the  same  great  Doge  who  built  and  decorated  the  Baptistery. 

The  chapel  is  extremely  dark,  and  can  only  be  tolerably 
seen  on  a  very  bright  day. 

The  Altar  is  occupied  by  the  sarcophagus  in  which  rest 
the  remains  of  the  Saint.  He  lies  in  sculptured  effigy  on  its 
lid  :  a  good  piece  of  sculpture.  The  front  of  the  sarcophagus 
is  decorated  with  a  figure  of  Christ,  and  of  SS.  John 
Baptist  and  another,  unidentified.  The  two  reliefs  represent, 
to  the  L.,  the  Saint  being  dragged  by  horses  over  the  ground, 
and  to  the  R.  his  decapitation.  This  is  a  fine  work,  coeval 
with  the  erection  of  the  chapel.  Notice  also  the  angel  with 
the  censer,  the  beautiful  symbolical  designs  on  the  under 
side  of  the  arch,  and  the  usual  Annunciation  in  the  spandrils. 


n]       BYZANTINE    VENICE:   ST.    MARK'S       8l 

The  walls  of  the  chapel  are  decorated  with  particularly 
handsome  slabs  of  coloured  marble  and  other  stones.  The 
*mosaics  are  all  of  a  peculiar  type,  quite  different  in  design 
and  technique  from  those  of  the  contemporary  Baptistery, 
erected  by  the  same  Doge,  Andrea  Dandolo  :  those  of  the 
Baptistery  seem  to  me  to  have  been  executed  by  Byzantine 
artists,  (or  artists  thoroughly  trained  in  the  Byzantine  school,) 
while  these  seem  rather  like  the  first  attempts  of  indifferent 
native  workmen,  feeling  their  way  doubtfully.  They  have 
lost  the  simple  dignity  and  repose  of  earlier  treatment  with- 
out having  attained  to  more  modern  freedom  and  sense  of 
action.  Nevertheless,  they  are  so  excellent  in  technical 
setting  that  hardly  a  stone  of  the  mosaics  has  been  misplaced, 
and  we  therefore  see  them  at  the  present  day  essentially  as 
they  were  left  in  the  14th  century. 

The  lunette  over  the  Altar  has  a  figure  of  Christ  seated ; 
to  the  L.  is  St.  Mark,  (church,)  to  the  R.,  St.  Isidore, 
(chapel.)  Beneath  it  is  the  inscription  already  translated. 
The  lunette  opposite  this  one  shows  Our  Lady  and  the  Child, 
with,  L.,  St.  John  the  Baptist,  and  R.,  St.  Nicholas  in 
Greek  ecclesiastical  costume, — these  (with  St.  Mark  opposite) 
are  the  patron  saints  of  the  three  Procurators  mentioned  in 
the  inscription. 

On  the  ceiling,  towards  the  tvall  of  entrance,  is  the 
History  of  St.  Isidore  most  quaint  and  interesting.  Above, 
he  sets  sail  for  Chios,  with  his  companion  Amenio  ;  all  the 
figures  are  named  in  the  inscriptions  ;  then,  he  arrives  at 
Chios,  where  he  is  hospitably  entertained  by  Valeria  and  her 
daughter  Afra ;  St.  Isidore  and  Amenio  give  thanks  for 
their  safe  landing  ;  St.  Isidore  reasons  with,  and  casts  out,  a 
devil ;  Valeria  and  Afra  are  converted  by  his  preaching  ; 
he  baptises  Afra,  nude,  in  the  font.  Below  :  "How  Nu- 
merianus  sentenced  St.  Isidore";  observe  the  Roman 
soldiers  with  their  shields  ;  "  How  he  was  placed  in  a  burn- 
ing fiery  furnace "  ;  note  the  wood-bearers  :  then,  he  is 
dragged  at  horses'  tails  over  the  ground,  the  blood  spurting 
out  more  copiously  than  artistically  ;  finally,  he  is  beheaded. 

The  mosaics  of  the  window  wall,  (seen  with  the  greatest 

G.  V.  F 


82        BYZANTINE    VENICE:    ST.    MARK'S       [ii. 

difficulty  except  in  a  bright  light,)  show  the  bringing  of  the 
body  of  St.  Isidore  from  Chios  to  this  chapel.  At  the 
opposite  side  from  the  Altar,  below,  the  entombment  of 
St.  Isidore  ;  above,  Doge  Domenico  Michiel  arriving  at 
Chios  ;  then,  a  private  priest,  Cerbanus,  steals  the  body  of 
St.  Isidore  for  his  personal  use,  from  the  sarcophagus ; 
notice  the  horrid  realism  of  the  shrivelled  corpse  and  skull 
of  the  Saint  :  the  Doge  reprehends  Cerbanus  for  the  theft, 
and  sends  him  on  shore  ;  the  body  is  taken  to  the  fleet,  with 
great  respect ;  below,  near  the  window,  it  is  carried  into 
St.  Mark's  with  due  solemnity.  Between  the  windows  is  a 
figure  of  St.  George  the  Martyr.  If  you  can  get  light  enough 
to  study  these  curious  and  unique  works,  the  remarkable 
details  will  well  repay  you. 

The  Sacristy 

may  be  entered  at  any  time  ;  the  custode  in  charge  of  it 
perambulates  the  church,  and  has  the  word  "Sagrestia" 
embroidered  in  very  legible  characters  on  his  coat ;  he  will 
unlock  the  door  for  you  for  a  few  sous.  The  entrance  is 
through  the  Chapel  of  St.  Peter. 

The  magnificent  room  to  which  you  thus  gain  access 
differs  from  all  the  rest  of  the  church  in  the  fact  that  all  its 
decorations  are  throughout  of  the  same  period,  and  coeval 
with  its  erection.  The  **  mosaics  are  in  the  best  Renaissance 
style,  from  designs  by  Titian  and  his  pupils.  The  whole 
scheme  of  this  decoration  is  admirable,  and  may  be  accepted 
as  by  far  the  best  of  the  later  mosaics.  The  technical  work 
is  perfect.  The  subjects,  however,  do  not  require  elucida- 
tion :  nor  have  they  anything  like  the  interest  of  the  ancient 
designs.  The  great  Latin  cross  which  forms  the  central 
axis  of  the  ceiling  has  a  few  figures  which  are  self-explanatory. 
Do  not  suppose,  however,  that  this  fine  specimen  of  Renais- 
sance decoration  is  not  worthy  of  close  attention  because  I 
dismiss  it  with  a  few  sentences. 

The  Tre.^sury 
is  entered  from  the  R.  Transept  :  open  daily,  except  festas, 
from  12  to  2  ;  tickets,  25  c,  each.     It  contains  a  large  num- 


II.]        BYZANTINE    VENICE:    ST.    MARK'S       83 

ber  of  fine  early  cups  and  reliquaries.  Also,  an  *  episcopal 
throne  of  the  6th  century,  known  as  the  Chair  of  St.  Mark  : 
it  is  of  carved  marble,  Egyptian  in  workmanship,  and 
doubtless  brought  from  St.  Mark's  at  Alexandria.  The 
principal  subjects  are  St.  Mark  and  Matthew,  the  symbols 
of  the  Evangelists,  the  Lamb,  and  some  criices  ansatce  or 
Egyptian  symbols  of  immortality,  borrowed  by  the  Alex- 
andrian church  from  earlier  paganism.  Note  particularly 
the  Four  Rivers  of  Paradise  and  the  very  Egyptian  character 
of  the  trees.  This  chair  was  brought  from  Alexandria  to 
Constantinople  at  an  early  date,  and  sent  in  630  by  the 
Emperor  Heraclius  to  the  Patriarch  of  Grado,  whence  it 
was  transported  in  1520.  Canon  Pasini  believes  that  it  was 
constructed  to  contain,  and  perhaps  still  contains,  the  wooden 
seat  used  by  St.  Mark  when  he  presided  over  the  infant 
church  at  Alexandria. 

The  Crypt 

is  seldom  open  except  on  St.  Mark's  day,  (April  25.)  It  is 
curiously  labyrinthine,  and  architecturally  older  than  any 
other  portion  of  the  building,  being  a  part  of  the  oldest 
church,  burnt  down  in  the  loth  century.  The  capitals  of 
its  columns  are  beautiful  and  full  of  interest. 


Observe  from  the  Piazzetta  one  portion  of  St.  Mark's  near 
the  Doge's  Palace,  high  up,  which  has  not  been  coated  with 
marble,  but  exhibits  well  the  simple  original  Byzantine  style 
in  naked  brick-work. 


In  connection  with  St.  Mark's  we  may  also  notice  the  two 
immense  *  Granite  columns  in  the  Piazzetta,  facing  the 
lagoon.  These  enormous  shafts,  each  consisting  of  a  single 
block  of  wrought  granite,  one  grey,  one  rosy,  were  brought 
from  Tyre  in  1126  by  Doge  Domenico  Michiel,  after  he  had 
captured  that  city  from  the  Saracens,  as  trophies  of  his 
conquest,  but  lay  on  the  Piazzetta  till  1171  or  11 80,  owing  to 
the  great  mechanical  difficulties  of  raising  them  into  position. 
They  were  then  at  last  placed  erect  by  a  mediaeval  engineer 
in  their  existing  situation.    Thus  they  are  indirect  memorials 


84        BYZANTINE    VENICE:    ST.   MARK'S       [ii. 

of  the  acquisition  of  Tyre  by  the  Crusaders.  Their  beautiful 
broad  bases,  and  still  lovelier  capitals,  (probably  carved  in 
Venice  itself  in  the  12th  century,)  form  glorious  specimens  of 
Byzantine  Romanesque  sculpture.  The  one  to  the  E.  bears 
an  ancient  bronze  figure  (iith  or  12th  century)  of  the 
winged  lion  of  St.  Mark,  a  splendid  piece  of  early  native 
handicraft,  the  wings  of  which,  however,  are  compara- 
tively modern— indeed,  the  whole  figure,  though  very 
ancient  in  type,  has  been  much  tinkered.  The  column 
to  the  W.  bears  a  somewhat  insipid  figure  of  St.  Theodore, 
the  ancient  patron  of  the  Republic,  conquering  his  dragon, 
which  is  here  represented  as  a  very  unmistakable  crocodile. 
This  figure  was  erected  in  1329,  but  is  scarcely  more  than 
a  mediocre  specimen  of  the  art  of  its  period.  It  seems  to 
be  remotely  derived  from  the  Egyptian  type  of  Horus  on 
the  crocodile. 


You  may  round  off  your  conception  of  Byzantine  Venice 

by  comparing  with  St.  Mark's  the  Byzantine  palaces  on  the 
Grand  Canal,  and  more  particularly  the  Loredan,  the 
FarsetH,  and  the  very  old  building  now  absurdly  known 
as  the  Fondaco  dei  Turchi.  These  are  more  particularly 
noticed  in  a  later  section.  The  Romanesque  city  is  amply 
shown  by  such  surviving  relics  to  have  been  already  a  town 
of  great  wealth  and  splendour,  architecturally  far  in  advance 
of  other  Italian  towns,  though  destitute  of  the  lofty  engineer- 
ing glories  of  France  and  the  Rhine  country. 


Ill 

GOTHIC  VENICE:    THE   DOGE'S 
PALACE 

THE  nucleus  of  the  first  Venice,  before  it  was  made 
the  seat  of  government  of  the  Repubhc,  is  said  to 
lave  been  the  Httle  district  about  the  great  bridge  over  the 
Grand  Canal,  which  still  retains  the  name  of  Rialto.  But  as 
soon  as  the  island  group  of  Rivo  Alto  became  the  capital 
of  the  Republic  of  the  Venetians,  a  Palace  for  the  Dux 
or  Doge  was  erected  near  the  open  mouth,  on  the  site 
which  its  successor  still  occupies.  This  earliest  palace  was 
probably  built  in  the  year  813  ;  close  beside  it  rose  the  old 
Ducal  Chapel  of  St.  Theodore,  the  predecessor  of  St. 
Mark's.  In  style,  the  first  Ducal  Mansion  must  have 
generally  resembled  the  Fondaco  dei  Turchi,  and  must  no 
doubt  have  been  a  building  in  the  severe  early-Byzantine 
manner.  It  was  more  than  once  burnt  down,  but  each 
time  rebuilt,  the  last  large  restoration  being  made  by  Doge 
Sebastiano  Ziani  in  1173.  In  1301,  however,  the  govern- 
ment of  Venice  having  become  by  that  time  more  strictly 
oligarchical,  a  new  saloon  was  built  for  the  meetings  of  the 
new  Grand  Council,  (Consiglio  Maggiore  ;)  and  this  saloon, 
designed  in  the  fashionable  Gothic  style,  which  was  then 
just  beginning  to  invade  Venice  from  the  mainland,  formed 
the  nucleus  of  the  existing  palace.  (Earlier  Gothic  palaces 
which  set  the  type  will  be  seen  on  the  Grand  Canal.)  For 
a  time,  only  the  south  front  towards  the  open  lagoon,  with 
a  small  part  of  the  western  fagade  towards  the  Piazzetta, 
was  completed  in  this  style  ;  the  old  Byzantine-Romanesque 
palace  of  Ziani  filled  up  the  gap  between  this  new  Gothic 
portion  and  the  gate  next  St.  Mark's  (now  the  Porta  della 

85 


86    GOTHIC   VENICE:    THE  DOGE'S  PALACE  [ill. 

Carta).  The  existing  front  towards  the  open  lagoon  dates 
from  about  1309  to  1340  :  the  ruins  of  the  old  Byzantine 
palace  were  pulled  down  after  a  fire  in  1419,  and  the  re- 
maining fagade  as  far  as  St.  Mark's  was  shortly  after  com 
pleted — Gothic  in  form,  but  Renaissance  in  feeling.  Latei" 
still,  during  the  Renaissance  period,  the  inner  court  and  the 
fagade  toward  the  side  canal  were  gradually  added.  These 
details  of  the  building  and  its  vicissitudes  will  become 
clearer  as  we  examine  the  architecture  on  the  spot.  As 
a  whole,  the  Doge's  Palace  as  it  now  stands  may  be 
regarded  (externally)  as  the  characteristic  typical  example 
of  fully  developed  Venetian  Gothic.  It  is  built  of  brick, 
and  is  lined  or  incrusted  with  small  lozenge-like  slabs  of 
variously  coloured  marble. 

The  Interior  of  the  Doge's  Palace,  as  we  see  it  at  present, 
belongs  to  a  much  later  date  than  the  exterior.  The  build- 
ing was  gutted  by  a  great  fire  in  1574  and  again  in  1577, 
which  entirely  destroyed  all  its  pictures  and  internal  decora- 
tions. The  works  it  now  contains  are  therefore  of  late  date, 
(i6th  and  17th  century,)  and  should  not  be  examined  till 
afier  the  visitor  has  thoroughly  mastered  the  evolution  of 
earlier  Venetian  painting  at  the  Academy.  The  outside  and 
inside  of  the  Palace,  indeed,  have  little  relation  historically 
to  one  another.] 

Begin  your  examination  of  the  Doge's  Palace  at  the 
south=east  corner,  facing  the  lagoon,  and  remotest  from 
the  Piazza. 

Stand  on  the  Ponte  della  PagHa,  opposite  the  (i6th 
century)  Bridge  of  Sighs,  which  connects  the  courts  in  the 
Palace  with  the  Criminal  Prison  to  your  R.  (This  late 
building  has  little  relation  to  the  original  edifice.)  The  first 
portion  of  the  Palace,  on  the  side  canal  to  your  left  (Rio  di 
Palazzo)  has  its  brick  wall  still  uncased  with  marble,  and 
thus  shows  you  well  the  primitive  character  of  the  architec- 
ture throughout.  Notice  the  charming  string-courses  of 
decorative  work  marking  the  various  floors  or  levels,  as  well 
as  the  delicate  original  windows,  spoiled  by  the  proximity  of 


III.]  GOTHIC   VENICE:    THE  DOGE'S  PALACE   87 

several  square  modern  additions.  Confine  yourself  for  the 
present  to  this  primitive  brick  portion,  and  observe  well  the 
arrangement  of  its  component  members. 

Note  next  that  the  corner  of  the  building  here  (and  in 
most  of  the  other  Gothic  Palaces)  is  gracefully  softened  by 
the  addition  of  spiral  columns,  with  occasional  projections  ; 
and  observe  how  this  artistic  softening  runs  up  through  all 
the  stories.  The  Palace  has  three  exposed  angles,  (the 
fourth  abuts  on  St.  Mark's ;)  these  three  are  decorated 
with  sculpture  :  above^  the  three  archangels  ;  below,  three 
figure-subjects  intended  respectively  to  inculcate  Justice, 
Obedience,  Temperance — appropriate  morals  for  the  resi- 
dence of  a  chief  magistrate.  The  archangel  in  this  case  is 
Raphael,  accompanied  by  the  boy  Tobias,  holding  the  fish 
which  was  to  cure  his  father's  blindness.  (Tobias  is  only 
present  as  the  archangel's  symbol.)  Raphael  looks  sea- 
ward, and  holds  a  scroll  with  a  prayer,  (in  a  rhymed  Latin 
hexameter,)  asking  him  to  render  the  lagoon  and  the 
Adriatic  free  from  tempest.  (Effice,  quceso,  fretum,  Rafael 
reverende,  quietum.)  The  sculptured  group  below  repre- 
sents the  *Drtmken?iess  of  Noah,  (1317,)  inculcating  Tem- 
perance. (These  sculptures  are  taken  here  in  inverse 
order,  for  an  architectural  and  historical  reason  which  will 
presently  be  apparent.  The  proper  order  would  of  course 
be  Michael,  Gabriel,  Raphael.)  Shem  and  Japhet  are 
covering  their  father  with  a  cloth  ;  Ham  stands  apart 
beyond  the  arch.  Wine  pours  from  the  cup  in  the  drunken 
patriarch's  hand  ;  his  other  hand  grasps  and  crushes  the 
grapes.  The  leafage  of  the  vine  is  fine,  but  the  tendrils 
have  been  broken. 

Now,  descend  the  bridge,  and  stand  opposite  the  Palace, 
near  the  water's  edge,  to  observe  the  South  Facade,  or 
Sea  Front.  It  consists  of  four  tiers.  The  lowest  tier  is 
composed  of  an  arcade  with  short  and  somewhat  stumpy 
columns,  without  bases.  (They  were  not  always  quite  so 
short,  as  the  level  of  the  pavement  has  been  raised, 
but  they  had  never  any  bases.)  The  noble  sculptured 
^capitals  of  these  columns  are  all  varied,  with  fine  Gothic 


88  GOTHIC  VENICE:    THE  DOGE'S  PALACE   [ill. 

feeling,  and  must  be  separately  examined  afterwards.  This 
covered  arcade,  screened  from  sun  or  rain,  was  the  cliief 
meeting-place  of  the  Venetian  nobility  in  the  days  of  the 
Republic.  The  second  tier  consists  of  an  open  loggia, 
guarded  by  a  balustrade;  it  has  cusped  arches,  with 
pierced  quatrefoils  above  them,  having  lions'  heads  in  the 
angles.  Notice  the  characteristic  ball  ornament  in  the 
quatrefoils.  This  type  of  loggia  was  afterwards  copied  in 
most  of  the  Gothic  palaces  on  the  Grand  Canal  erected 
subsequently  to  this  building  ;  they  may  be  described  as 
of  the  Doge's  Palace  type.  The  loggia  was  used  by  ladies 
of  the  senatorial  order  for  viewing  great  state  ceremonies. 
The  two  first  floors  are  thus  the  lightest.  The  wall  above, 
contrary  to  the  usual  rule,  is  heavier  than  the  lower  portion : 
it  is  relatively  plain,  and  pierced  with  {q\\  windows,  but  is 
encased  in  an  elaborate  decorative  pattern  of  encrusted 
marble.  This  heavy  plainness  enhances  by  contrast  the 
beauty  and  airiness  of  the  lower  stories.  The  first  two 
windows  of  the  third  tier,  to  the  R.,  retain  their  ancient 
tracery,  (of  two  types,  one  like  that  in  the  apse  of  the  Frari,) 
and  perhaps  belong  to  the  very  earliest  part  of  the  building 
(about  1 301).  The  four  plain  windows  to  the  L.,  with  the 
large  door  into  the  central  balcony,  form  part  of  the  Sala 
del  Maggior  Coiisiglio,  the  great  hall  for  which  this  second 
portion  of  the  Palace  was  originally  erected,  (about  1340.) 
The  fourth  tier  is  pierced  with  small  round  windows  ;  the 
architectural  arrangement  here  will  be  more  obvious  after 
you  have  visited  the  interior. 

The  centre  of  this  sea  facade  is  occupied  by  an  immense 
window,  with  a  fine  balcony  of  pierced  marble  work  (1404). 
On  the  pinnacle  at  the  summit  above  stands  Justice,  (or, 
more  probably,  Venice,)  with  the  sword  and  scales  ;  below, 
in  three  niches,  St.  Mark,  flanked  by  St.  Peter  and  St.  Paul  : 
then.  Charity  in  the  circle  above  the  window,  Faith  and 
Hope  beside  her.  Close  by,  the  four  Cardinal  Virtues. 
(These  Virtues  recur  everywhere  in  Venice.)  Beneath,  at 
the  sides  of  the  window,  St.  George  (modern,  by  Canova) 
and  St.  Theodore,  the  minor  patrons. 


III.]  GOTHIC  VENICEi    THE  DOGE' S  PALACE   89 

This  south  facade,  taken  as  a  whole,  is  the  oldest  part  of 
the  Palace,  14th  century. 

Return  to  the  side-canal  corner,  by  the  Drunkenness  of 
Noah,  in  order  to  examine  the  capitals  of  the  columns: 
Jhey  have  been  restored,  (or  rather,  renewed,)  but  are  still 
interesting,  (i)  Corner  column,  symbolical  half-lengths  of 
children  and  men  (with  razors,  draughts,  etc.)  among 
foliage  ;  (2)  pelicans,  and  other  similar  birds  of  symboli- 
cal character  (animal  symbolism  is  an  interesting  subject, 
largely  exemplified  at  Venice,  but  not  to  be  adequately 
treated  within  the  necessarily  restricted  limits  of  this 
Guide) ;  (3)  male  and  female  heads ;  (4)  children  with 
grapes,  birds,  etc.  ;  (5)  famous  monarchs  (beginning  on  the 
side  towards  the  Sea  Front  :)  the  Emperor  Titus  Vespasian, 
the  Emperor  Trajan,  Priam  king  of  Troy,  (chronologically 
the  series  starts  here,)  Nebuchadnezzar,  Alexander  the 
Great,  Darius,  Julius  Caesar,  Augustus  ;  (6)  female  heads  ; 
(7)  Virtues  and  Vices,  (begin  on  the  front,)  Liberahty,  dis- 
pensing money  ;  Constancy  ;  Discord  ;  Patience  ;  Despair, 
thrusting  a  dagger  into  her  throat,  and  tearing  her  hair  ; 
Obedience;  Infidelity,  holding  an  idol;  Modesty:  (8) 
Centaurs,  Giants,  and  monsters  of  various  forms,  all  sym- 
bolical ;  (9)  Virtues  :  Faith,  holding  the  cross  ;  Courage, 
tearing  open  lion's  jaw  ;  Temperance,  with  pitcher  and  cup 
of  water  ;  Humility,  with  a  lamb  ;  Charity,  feeding  a  child  ; 
Justice,  holding  a  sword  ;  Prudence,  with  compasses  ;  Hope, 
clasping  her  hands,  all  very  typical  allegorical  personifi- 
cations :  recollect  them  for  future  examples  ;  (10)  Vices  : 
Luxury,  with  mirror  ;  Gluttony,  gnawing  a  bone  ;  Pride,  as 
a  Knight  ;  Anger,  tearing  her  own  breast ;  Avarice,  clasping 
money-bags  ;  Idleness,  lolling  ;  Vanity,  with  a  mirror  and 
crown  ;  Envy,  wreathed  with  snakes  and  nursing  a  dragon  ; 
(11)  birds;  (12)  Vices  and  their  opposite  virtues:  De- 
spondency ;  Cheerfulness,  playing  a  tambourine  ;  Folly, 
on  horseback ;  Chastity,  reading,  as  a  cloistered  nun ; 
Honesty  ;  Falsehood,  a  hag ;  Injustice,  armed  with  a 
halbert  ;  Abstinence,  apparently  as  continence  :  (13)  Lions' 
heads  :   (14)  Symbolical  animals — dogs,  monkeys,  a  boar. 


90    GOTHIC   VENICE:    THE  DOGE'S  PALACE  [ill. 

lion,  etc.  :  (15)  the  nobility,  (?)  a  lady  with  a  distaff;  a 
young  lord  with  a  rose  ;  a  woman  with  a  lap-dog  ;  a  man 
with  a  falcon  ;  a  woman  counting  her  jewels  ;  a  man  play- 
ing with  foliage  ;  a  queen  with  a  rose  ;  a  boy  with  a  ball  : 
symbolising  worldly  joys  and  pleasures  (?)  :  (16)  Heads, 
representing  nations,  eastern  and  western  ;  (17)  Philoso- 
phers :  Solomon  ;  Priscian  the  grammarian,  Aristotle  the 
logician,  Cicero  the  orator,  Pythagoras  the  arithmetician, 
Euchd  the  geometer,  Tubal  Cam  the  musician,  Ptolemy 
the  astronomer:  (18)  the  sun  and  planets  in  their 
"Houses"  or  signs;  Aquarius,  Saturn  riding  a  goat  and 
bearing  an  urn  ;  the  House  of  Saturn  :  Sagittarius  and  Pisces, 
Jupiter  riding  a  centaur,  holding  the  bow,  with  two  fish ;  the 
House  of  Jupiter  :  Aries  and  Scorpio,  the  House  of  Mars,  a 
knight  bestriding  a  ram,  and  carrying  a  scorpion  :  Leo,  the 
House  of  the  Sun,  represented  as  Apollo,  seated  on  a  lion  : 
Taurus  and  Libra,  the  House  of  Venus,  who  sits  on  a  bull, 
and  holds  balances  :  Gemini  and  Virgo,  the  House  of  Mer- 
cury, between  two  children  and  a  maiden  :  Cancer,  the 
House  of  the  Moon,  a  woman  in  a  boat,  holding  a  crab  : 
God  creating  Adam,  for  whose  use  these  stars  existed,  (for 
mediaeval  intelligence.)  Note  that  everywhere  in  this  age 
the  connection  between  astronomy  and  religion  is  very 
close,  the  Calendar  being  a  sacred  compilation  to  show 
saints'  days  and  festivals. 

From  the  base  of  the  great  Granite  Column  with  St. 
Mark's  lion,  you  can  best  examine  the  south  =■  west  corner. 
It  is  softened  above  in  the  same  manner  as  the  preceding 
one.  The  archangel  here  is  Michael,  holding  his  sword  ; 
the  sculpture  below  represents  **the  Fall,  (1344,)  and  typi- 
fies or  enforces  Obedience.  It  is  an  admirable  piece  of 
early  Gothic  work,  with  especially  good  fig-tree  foliage,  well 
undercut,  and  extremely  vigorous.  Adam  and  *Eve  aie  fine 
Gothic  nudes  of  their  period. 

Proceed  round  the  corner  to  examine  the  W.  facade, 
towards  the  Piazzetta.  The  first  two  windows  of  this  facade 
on  the  third  tier  belong  to  the  Sala  del  Maggior  Consiglio, 
and  form  part  of  the  original  Gothic  portion,  which  ended 


III.]  GOTHIC   VENICE:    THE  DOGE'S  PALACE    91 

at  the  sixth  arch  from  the  Adam-and-Eve  corner.  Its  hmits 
are  well  marked  by  a  square  thickened  pillar  on  the  loggia,  or 
second  tier,  surmounted  by  a  fine  %elief  of  Venice  enthroned 
between  her  lions.  There  can  be  no  doubt  as  to  her  person- 
ality in  this  case,  since  she  is  legibly  inscribed,  "  Venecia." 
Behind  her  is  the  rhymed  inscription,  Fortis  justa  ffoiio 
furias  mare  svb pede  pono  :  ("  Brave  and  just,  I  place  faction 
beneath  my  throne  and  the  sea  beneath  my  foot.") 

The  rest  of  this  W.  facade  is  of  later  Gothic  work,  tinged 
by  Renaissance  feeling,  (see  introduction  to  this  section,)  but 
excellently  harmonised  with  the  earlier  portion.  It  is  the 
part  erected  (about  1430)  under  Francesco  Foscari  upon  the 
site  of  the  Romanesque  palace  of  Doge  Ziani.  The  capitals 
of  its  pillars  are  mostly  copied  from  those  of  the  earlier 
ones.  The  central  balcony  is  best  observed  from  the 
lamp-post  opposite,  near  the  Libreria  Vecchia.  On  the 
summit  stands  Venice  with  her  lions  ;  below,  a  bearded 
Doge  (Francesco  Foscari)  kneels  before  the  Lion  of  St. 
Mark  with  the  Venetian  motto,  (Pax  tibi,  etc.)  The  statues 
in  the  niches  represent,  above,  R.,  Jupiter,  L.,  Mercury  ; 
belowy  R.,  Neptune,  L.,  Mars.  They  thus  suggestively 
represent  (J.)  the  ducal  authority,  (M.)  the  commerce  of 
Venice,  (N.)  her  command  of  the  sea,  and  (M.)  her  military 
power.  Observe  that  here  for  the  first  time  we  come  across 
personages  from  the  pagan  mythology,  a  point  which 
marks  distinct  transition  from  the  mediceval  to  the  Renais- 
sance spirit.    Till  now,  the  symbolism  has  been  all  Christian. 

The  north-west  corner,  near  St.  Mark's,  is  softened  by 
sculpture  like  the  others.  Its  archangel  is  Gabriel,  with  the 
Annunciation  lily.  Its  subject-sculpture,  a  noble  piece  of 
15th-century  Florentine  work  by  a  pair  of  Tuscan  sculptors, 
represents  the  *Judgment  of  Solomon,  typifying  Justice  : 
this  group  is  best  seen  from  the  seat  by  the  red  porphyry 
figures  opposite. 

The  newer  semi  ^Renaissance  part  of  the  Palace  just 
examined,  (from  the  figure  of  Venice  in  a  circle  to  the  Judg- 
ment of  Solomon,)  was  probably  erected  about  1424-1442, 
by    Giovaniii  Biton,   and    his    two    sons,    Pantaleone    and 


92   GOTHIC   VENICE:    THE  DOGE'S  PALACE  [ill. 

Baftolommeo.  Remember  Bartolommeo  :  you  will  meet 
him  elsewhere. 

The  magnificent  doorway  which  gives  access  to  the  in- 
terior court-yard,  is  known  as  the  Porta  della  Carta,  because 
government  proclamations  were  posted  here.  It  is  late 
Gothic  with  marked  Renaissance  tendencies,  and  was 
erected  by  Bartolommeo  Buon  (1438-43).  On  the  summit, 
Venezia  is  enthroned  between  her  lions,  with  sword  and 
scales,  and  so  named  on  the  pedestal  ;  beneath,  on  the 
tympanum,  winged  children  {putti)  climb  among  rampant 
foliage  ;  at  the  top  of  the  arch  we  see  St.  Mark,  holding  his 
Gospel,  in  a  circle  of  Renaissance  work  ;  beneath  him,  a 
late  over-decorated  window  ;  over  the  square  doorway,  a 
restored  relief  of  Doge  Cristpforo  Moro,  (but,  as  restored,  he 
seems  to  me  to  have  the  features  of  Leonardo  Loredan,) 
kneeling  before  the  lion  of  St.  Mark,  (original  destroyed 
in  the  French  Revolution  ;)  in  the  niches  by  the  sides,  the 
Virtues,  (Courage,  Prudence,  Hope,  Charity,)  named  on  their 
pedestals.  Study  this  doorway  with  all  its  details  as  charac- 
teristic of  the  transition  from  Gothic  to  Renaissance. 

Next,  go  back  to  the  Adam-and-Eve  corner,  to  examine 
the  capitals  of  the  columns  along  this  western  facade. 
The  corner  one  (already  noted)  and  the  five  which  succeed 
it,  belong  to  the  old  part  of  the  building. 

(i)  Sculpture  and  architecture,  with  small  bits  of  coloured 
marble  suggestively  inserted,  to  mark  its  meaning  :  the 
figures  (sainted  masters  with  their  pupils)  are  at  work  on 
various  pieces  of  decorative  detail :  (2)  heads  of  animals, 
tearing  prey;  (begin  on  front;)  lion  with  stag;  wolf  with 
bird  ;  fox  with  cock  ;  griffon  with  hare ;  boar  with  mast ; 
dog  with  bone  ;  cat  with  rat  ;  bear  with  honeycomb  ;  the 
whole  creation  groaneth  and  travaileth  :  (3)  the  trades ; 
stonecutter,  goldsmith,  shoemaker,  carpenter,  measurer, 
gardener,  notary,  smith  :  (4}  influence  of  planets  on  seven 
ages  of  man  ;  the  moon  governs  infancy  four  years  ;  Mer- 
cury childhood  ten  ;  Venus  adolescence  seven  ;  the  sun 
maturity  nineteen  ;  Mars  middle  age  fifteen ;  Jupiter  old 
age  twelve;  Saturn  decrepitude  till  death;  death  the  penalty 


III.]  GOTHIC  VENICE:    THE  DOGE'S  PALACE  93 

of  sin:  (5)  human  heads,  races  ;  (6)  marriage  ;  first  glimpse 
at  a  balcony,  courtship,  presents,  embraces,  wedding,  birth 
of  a  child,  its  upbringing,  its  death  :  (7)  Months,  thus  : 
March  ;  April  with  May  ;  June  ;  July  with  August ;  Septem- 
ber ;  October  with  November ;  December,  sticking  a  pig ; 
January  with  February :  (this  is  the  first  of  the  later  capitals ; 
Ruskin — erroneously,  I  think — makes  it  the  last  of  the  early 
ones  :)  (8)  female  half-lengths  :  (9)  fruits  ;  cherry  ;  pear  ; 
cucumber  ;  peach  ;  gourd  ;  melon  ;  fig  ;  grape  :  (10)  dupli- 
cate, copied  from  an  old  one  :  (n)  duplicate  :  (12  and  13) 
duplicate:  (14)  full-length  figures,  draped:  (15  and  16) 
duplicates:  (17)  children,  very  Renaissance:  (iS)  Justice, 
continuing  the  subject  above  it :  Justice,  with  sword  and 
scales,  enthroned  between  her  lions ;  then,  lawgivers— 
Aristotle  ;  Lycurgus  (?)  ;  Solon  ;  the  "Chastity  of  Scipio"  ; 
(he  refuses  a  beautiful  slave  as  a  bribe  ;)  Numa  building 
temples  ;  Moses  receiving  the  law  ;  Trajan  stopping  on  his 
way  to  a  campaign  to  do  justice  to  a  poor  widow  ;  the  in- 
scriptions on  the  others  are  in  Latin,  on  this  in  Venetian. 
Recollect,  however,  that  all  these  capitals,  though  good,  are 
modern  copies;  the  originals  are  preserved  in  a  ground-floor 
of  the  Doge's  Palace. 

Do  not  at  present  enter  the  court-yard,  but  continue  on 
past  the  main  fagade  of  St.  Mark's,  turning  to  the  right 
through  the  little  Piazza  dei  Leoni,  (on  your  L.  the  pseudo- 
classic  fagade  of  the  desecrated  church  of  San  Basso,)  and 
holding  straight  down  the  narrow  street,  (the  Calle  di 
Canonico,)  which  leads  to  the  canal  (Rio  Palazzo)  at  the 
back  of  the  Palace.  (Fronting  you  as  you  approach  the 
bridge  is  the  imposing  and  decorated  Palazzo  Trevisam, 
in  the  Lombardi  or  Venetian  early  Renaissance  style, 
built  about  1500.)  Stand  on  the  next  bridge  to  the  R. 
to  examine  the  E.  or  later  Renaissance  facade  of  the 
Doge's  Palace,  facing  the  Rio  di  Palazzo,  which  is  best 
observed  from  this  bridge  (or  the  little  quay  beyond  it) 
and  the  one  by  the  Drunkenness  of  Noah.  It  is  a  fine 
specimen  of  High  Renaissance  work,  well  varied  in  its 
windows  and  decorations,  but  it  lacks  the  picturesque  beauty 


94  GOTHIC   VENICE:    THE  DOGE'S  PALACE   [ill. 

of  the  Gothic  portion.  The  absurdly  over-rated  Bridge  of 
Sighs  is  a  late  and  incongruous  addition,  ugly  enough  in 
itself,  but  picturesque  in  virtue  of  its  height,  its  covered 
parapet,  and  its  unusual  position.  It  was  built  about  1590 
by  Antonio  da  Ponte,  the  architect  of  the  Rialto  bridge,  to 
connect  the  Palace  with  the  Prison  he  had  just  erected 
beyond  the  Rio.  Most  casual  visitors  to  Venice,  curiously 
enough,  carry  away  with  them,  as  their  main  mental  picture 
of  the  mighty  mediaeval  town,  these  late  Renaissance  bridges, 
which,  of  course,  were  never  seen  by  the  powerful  Doges 
or  the  great  painters,  sculptors,  and  architects,  who  made 
Venice.  There  is  nothing  romantic  about  the  Ponte  dei 
Sospiri,  which  merely  unites  the  Courts  of  Justice  in  the 
Palace  with  the  Criminal  Prison. 

Now,  return  to  the  Porta  della  Carta,  and  enter  the 
inner  court=yard  of  the  Palace. 

The  West  and  South  sides  of  the  court,  (in  brick  in  the 
upper  story,)  consist  in  the  main  of  the  older  buildi)ig  of 
1340  (S.),  and  the  later  Gothic  extension  of  1430  (W.)  ; 
but  their  two  lower  floors  have  been  immensely  remodelled 
into  uniformity  with  the  later  Renaissance  portion  of  the 
building.  The  arcade  here  has  pointed  arches,  but  all  the 
decorations  and  columns  are  Renaissance  in  feeling.  The 
E.  facade,  completely  coated  with  marble  from  top  to 
bottom,  forms  the  inner  front  of  the  Renaissance  portion  on 
the  side  canal,  and  is  a  very  ornate  and  costly  example  of 
Venetian  Renaissance  decoration.  It  is  imposing  by  virtue 
of  its  richness,  and  its  numerous  coloured  marble  insertions, 
so  characteristic  of  the  age  and  place  ;  but  its  upper  floors 
harmonise  ill  with  the  semi-Gothic  arcade  of  the  loggia.  It 
was  erected  in  the  late  15th  century  by  Rizzo.  Examine 
the  characteristic  detail,  and  compare  with  that  of  the 
Louvre.  The  main  court  also  contains  two  beautiful  bronze 
*well=heads  of  Renaissance  workmanship  (i6th  century). 

The  small  court,  at  the  North  end  of  this  quadrangle,  has 
a  little  fa»;ade  adjoining  St.  Mark's,  erected  in  i52obyBer- 
gamasco,  a  good  and  more  tasteful  specimen  of  early- 
Renaissance  workmanship. 


III.]  GOTHIC   VENICE:    THE  DOGE'S  PALACE  95 

The  great  staircase  in  this  little  court,  (known  as  the 
Scala  dei  Cij^^anti,  from  the  statues  at  its  summit,)  was  the 
entrance  by  which  the  nobility  approached  the  palace.  It 
was  built  by  Rizzo  in  1584,  and  is  topped  by  colossal 
Renaissance  statues  of  Mars  and  Neptune,  (representative 
of  the  military  and  naval  supremacy  of  Venice,)  by  Jacopo 
Sansovino  (1554).  (Note  that  the  classic  mythology  now 
almost  supersedes  Christian  symbolism.)  Between  them, 
over  the  arch,  is  St.  Mark's  lion.  At  the  top  of  this  stair- 
case the  Doges  were  crowned,  in  the  later  ages  of  the 
Republic,  (from  1521,)  with  the  old  formula,  in  Latin,  "  Re- 
ceive the  ducal  crown  of  the  dukedom  of  the  Veneti." 

Mount  the  staircase  to  the  top  of  the  second  flight,  to  view 
the  little  facade  of  the  connecting  link  between  St.  Mark's 
and  the  Doge's  Palace.  On  either  side  of  the  arch  which 
faces  you  as  you  look  back  towards  the  Piazza,  are  statues  of 
Adam  and  Eve,  by  Antonio  Rizzo,  1462  ;  fine  specimens  of 
the  early-Renaissance  nude.  Above  is  a  charming  little 
balcony.  The  door  under  the  arcade  to  the  R.  gives  access 
to  the  Chapel  of  St.  Clement  in  St.  Mark's,  and  is  the  one 
by  which  the  Doge  usually  passed  into  the  church  from  his 
palace.  We  have  already  noticed  it  in  the  interior  of  the 
Basilica. 

Stand  by  the  northernmost  of  the  two  well-heads  in  the 
great  quadrangle,  in  order  to  examine  the  little  fagade  by  the 
cIock=tower.  On  the  lower  floor  to  the  R.  is  a  statue  of 
Duke  Francesco  Maria  I.,  of  Urbino,  general  of  the  Republic, 
by  the  Florentine  sculptor  Bandini.  It  shows  at  once  its 
Florentine  character.  The  statues  in  the  niches  are  antiques, 
(gods,  and  a  muse,)  but  are  freely  restored.  Only  by  the 
aid  of  the  plan  in  Baedeker  can  you  thoroughly  understand 
the  intricate  intermixture  of  portions  of  St.  Mark's  with 
portions  of  the  Doge's  Palace  in  this  curiously  debatable 
junction  corner. 

The  interior  of  the  Doge's  Palace  was  entirely  gutted  by 
the  great  fire  of  1577,  which  destroyed  all  its  early  paintings 
and  decorations.  Those  which  it  now  contains  are  of  a 
much  later  age,  representing  the  period  of  the  great  painters, 


96  GOTHIC   VENICE:    THE  DOGE'S  PALACE   [ill. 

Tintoretto,  Paolo  Veronese,  and  Palma  the  younger.  They 
have  little  relation  to  the  Gothic  and  Renaissance  exterior. 
I  strongly  advise  you,  therefore,  to  defer  your  visit  to  the 
interior  until  you  have  studied  the  origin  and  development 
of  Venetian  painting  in  full  at  the  Academy.  You  will  then 
be  able  to  place  these  fine  later  works  in  their  proper 
position.  I  give  an  account  of  them,  accordingly,  in  a 
subsequent  section. 


IV 

RENAISSANCE  VENICE 

THE   PIAZZA  AND    PIAZZETTA 

WE  have  already  obtained  some  introduction  to 
Renaissance  Venice  in  our  examination  of  the 
3oge's  Palace,  where  we  have  seen  the  transitional  Gothic 
stage  in  the  Porta  della  Carta,  and  much  developed  Renais- 
sance work  in  the  great  court-yard.  In  strictly  chronological 
order,  it  is  true,  we  ought  next  to  take  San  Zaccaria,  and  the 
fagade  of  the  Scuola  di  San  Marco,  as  examples  of  the  rise 
of  Renaissance  architecture  in  Venice.  For  convenience 
sake,  however,  it  will  perhaps  be  best  to  say  here  the  rest  of 
what  is  necessary  about  the  great  group  of  buildings  which 
surround  the  Piazza  and  Piazzetta.  These  are  the  real 
focus  of  Venice,  old  or  new,  and  the  visitor  will  naturally 
wish  to  know  all  about  them  before  pushing  his  enquiries 
into  remoter  quarters.] 

The  Northern  Side  of  the  Piazza  is  formed  by  a  long  and 
somewhat  monotonous  line  of  uniform  buildings,  known  as 
the  Procuratie  Vecchie.  These  were  the  official  residences 
of  the  nine  Procurators  of  St.  Mark,  the  principal  officers  of 
the  Republic  after  the  Doge.  The  lower  portion  of  the  great 
wing  thus  described  was  erected  in  1496  by  Pietro  Lombardo  ; 
the  upper  portion  was  added  in  15 19  by  Bartolommeo  Buon 
the  younger.  This  straight  range  of  building,  with  its 
open  arcade  and  continuous  lines  of  round  arches,  may  be 
regarded  as  highly  characteristic  of  the  simplicity  and 
directness  of  the  early  Renaissance. 

Adjacent  to  it  is  the  much  more  ornate  CIock=Tower  at 
G.  V.  "  o 


98  RENAISSANCE    VENICE  [iv- 

its  east  end,  near  St.  Mark's.  This  was  erected  in  1496, 
probably  from  designs  by  Antonio  Rizzo,  of  Verona.  Its 
arch  gives  access  to  the  Merceria,  the  principal  shopping 
street  of  Venice,  which  winds  hence  tortuously  to  the  Rialto 
Bridge.  Here,  as  late  as  the  reign  of  Charles  II.,  Evelyn, 
accustomed  only  to  the  small  mercers  of  London,  saw  stuffs 
exposed  for  sale  which  astonished  him  by  their  extraordinary 
variety  and  richness.  The  upper  floor  is  occupied  by  a 
great  gilt  clock,  showing  the  signs  of  the  zodiac,  and  with 
the  hours  numbered  from  I.  to  XXIV.,  in  the  Italian  fashion. 
Above  it  is  a  gilt  figure  of  Our  Lady  with  the  Child,  and  the 
gilt  lion  of  St.  Mark,  on  a  blue  starry  background.  On  the 
summit  stand  two  bronze  men-at-arms,  who  strike  the  hours 
with  their  hammers — a  childish  wonder.  The  whole  effect 
of  the  Clock  Tower  is  garish  and  unworthy  of  the  position. 

Now,  (neglecting  for  the  moment  the  other  sides  of 
the  square,)  proceed  into  the  Piazzetta,  to  examine  the 
Libreria  Vecchia,  the  noble  building  which  forms  its  west 
side,  worthily  balancing  the  front  of  the  Doge's  Palace. 
This  triumph  of  Renaissance  art  was  begun  by  Sansovino 
in  1536;  it  consists,  below,  of  an  open  loggia  ;  above,  of  a 
continuous  arcade  with  embedded  columns.  The  parapet 
is  adorned  with  numerous  (inferior)  statues.  The  caryatides 
at  the  main  doorway  under  the  arcade  are  by  Alessandro 
Vittoria.  Symonds  justly  remarks  that  one  cannot  regard 
this  noble,  light,  and  sumptuous  building  without  echoing 
the  praise  of  Palladio,  that  nothing  more  beautiful  of  its 
kind  had  been  erected  in  Italy  since  the  days  of  ancient 
Rome.  It  marks  the  second  or  triumphant  stage  of  the 
Venetian  Renaissance.  The  decorated  character  of  the 
fine  arcade,  with  its  sculptured  figures  over  the  arches,  and 
its  festoons  of  flowers  and  fruit,  may  be  well  contrasted  with 
the  stern  simplicity  of  the  slightly  earlier  Procuratie  Vecchie. 
Observe,  too,  how  the  idea  of  two  more  or  less  open  ranges 
of  arches,  one  above  another,  is  directly  inherited  by 
Venetian  Renaissance  from  Venetian  Gothic  and  Venetian 
Romanescjue. 

Next,  proceed  round  the  corner  of  the  Piazzetta  on  to  the 


IV.]  RENAISSANCE    VENICE  99 

Molo  or  lagoon  front,  in  order  to  inspect  the  fagade  of  the 
Libreria  Vecchia  towards  the  lagoon.  The  building  once 
contained  the  splendid  library  of  the  Republic,  begun  by  a 
legacy  from  Petrarch,  and  largely  added  to  by  Cardinal 
Bessarion.  This  glorious  Library,  combined  with  the 
magnificent  Aldine  editions  of  the  classics,  serves  to  remind 
us  that  in  the  i6th  century  Venice  was  one  of  the  capitals  of 
learning,  as  well  as  the  unrivalled  capital  of  commerce. 

To  the  L.  of  the  Library  on  this  side  stands  the  sombre 
building  of  the  Zecca,  or  ancient  Mint,  also  erected  by 
Sansovino,  though  in  a  much  severer  and  heavier  style,  in 
1536.  The  ground  floor  is  now  occupied  by  the  P.  and  O. 
Steamship  Company.  The  upper  floors  have  somewhat 
stern  windows,  divided  by  interrupted  Doric  and  Ionic 
columns,  in  the  first  and  second  stories  respectively.  The 
zecchino,  or  sequm,  derives  its  name  from  this  building. 

This  will  also  be  a  convenient  time  to  visit  the  Campa^- 
nile,  or  bell-tower  of  St.  Mark's,  which  (as  usual  in  Italy) 
stands  detached  from  the  church,  just  opposite  the  Porta  della 
Carta.  The  first  bell-tower  on  this  site  was  built  in  888  ; 
the  present  Campanile  was  probably  erected  in  1329.  The 
marble  top  was  added  in  1417  ;  and  this  was  crowned,  just 
a  century  later,  with  a  gilt  Renaissance  figure  of  an  angel, 
i6ft.  in  height.  In  1540  Sansovino  added  at  its  base  the 
beautiful  and  much  criticised  little  late-Renaissance  portico, 
known  as  the  Loggetta,  which  was  used  as  a  waiting-room 
for  the  nobles  outside  the  Doge's  Palace,  and  later  as  a 
guard-house.  It  has  fine  bronze  gates,  (later,  1750,) 
and  beautiful  emblematic  small  bronze  statues,  from  L.  to 
R.,  of  Peace,  Mercury,  Apollo,  and  Pallas,  by  Sansovino. 
(Peace  brings  commerce,  arts,  and  learning  to  Venice.) 
The  reliefs  a}oovQ  (by  Geronimo  da  Ferrara)  represent  Venice 
enthroned  between  her  lions,  as  Queen  of  the  Adriatic  and 
of  the  sea,  with  sea-gods  wafting  to  her  the  wealth  of  the 
nations  :  at  the  sides,  Jupiter,  symbolising  her  dependency 
of  Crete,  and  Venus,  symbolising  her  other  dependency  of 
Cyprus.  These  reliefs  are  very  characteristic  of  the  later 
Venetians'  proud  sense  of  their  own  maritime  importance. 


100  RENAISSANCE    VENICE  [iv. 

If  I  do  not  dwell  at  length  upon  such  noble  Renaissance 
works,  it  is  not  because  they  are  not  worthy  of  close  atten- 
tion, but  because,  being  comparatively  modern  in  idea  and 
treatment,  they  need  little  explanation.  They  are  Mytho- 
logical, not  Christian,  embodying  frankly  pagan  ideas. 

[The  Campanile  is  ascended,  not  by  a  staircase,  but  by 
a  continuous  winding  inclined  plane,  easy  to  mount,  and 
tolerably  well-lighted,  though  sadly  malodorous.  Admission 
15  c.  per  person  ;  always  open.  I  advise  you  only  to  ascend 
it  after  you  have  seen  all  Venice,  when  you  will  be  able  to 
recognise  the  various  churches  or  palaces,  and  so  derive 
more  pleasure  from  the  view  from  the  summit.  The  build- 
ings of  the  city  are  well  seen,  but  none  of  the  canals.  The 
outlook  from  the  campanile  of  San  Giorgio  Maggiore,  how- 
ever, is  still  finer  and  more  characteristic,  and  the  ascent  is 
much  cleaner.] 

From  the  Campanile  you  may  proceed  to  observe  the 
three  great  flagstaffs  which  stand  in  the  Piazza  in  front  of 
St.  Mark's,  and  from  which  once  floated  the  standards  of 
the  three  great  Dependencies  of  Venice — Cyprus,  Crete,  and 
the  Morea,  now  replaced  by  that  of  the  kingdom  of  Italy. 
(On  festa  days  the  crimson  flag  of  St.  Mark's,  with  the 
winged  lion  in  gold,  and  the  frayed  edges,  which  flaps  from 
the  flagstaff  of  the  Basilica  itself,  contrasts  well  with  the 
crude  and  gaudy  modern  hues  of  the  Italian  tricolour.) 
The  *bronze  bases  of  these  flagstafis  are  splendid  specimens 
of  Renaissance  casting,  by  Alessandro  Leopardi,  the  sculptor 
of  the  great  statue  of  Colleoni  which  we  shall  see  hereafter. 
They  were  erected  (1505)  under  the  Dogeship  of  Leonardo 
Loredan,  as  their  inscription  states.  The  central  base  has 
exquisite  medallions  with  the  Doge's  profile,  obviously  taken 
from  the  beautiful  portrait  by  Giovanni  Bellini,  now  in  the 
National  Gallery  in  London.  The  reliefs  beneath,  on  all 
three  flagstafis,  are  symbolical  of  the  maritime  supremacy  of 
Venice  :  on  the  centre  one,  the  Republic  carries  Justice 
where  she  goes,  and  is  followed  by  Peace,  Commerce,  and 
Plenty.  The  winged  lion  of  St.  Mark  upholds  the  wooden 
shafts. 


IV.]  RENAISSANCE    VENICE  101 

The  South  Side  of  rtie  Pidzza  is  forhifed  by  the  Procuratie 
Nuove,  which  were  added  by  Scamozzi  in  1584  as  additional 
residences  for  the  Procurators  of  the  Republic.  Before  that 
date  the  site  on  which  they  stand  had  been  occupied  in  part 
by  the  old  church  of  San  Geminiano,  while  a  row  of  ancient 
houses  spread  to  the  west  from  the  base  of  the  Campanile. 
(The  shape  and  arrangement  of  the  Piazza  at  this  time  are 
well  shown  in  a  famous  picture  by  Gentile  Bellini  in  the 
Academy,  Room  XV.)  Scamozzi  erected  his  building  on 
the  site  of  the  (demolished)  old  church  in  order  to  continue 
the  architecture  of  Sansovino's  Libreria  Vecchia  on  this 
side  of  the  enlarged  square.  As  the  new  building  would 
have  looked  low  and  squat,  however,  if  continued  along  so 
large  an  area  at  the  same  level,  he  added  an  upper  story 
to  the  design.  (That  is  why  I  have  brought  you  here  in 
this  apparently  capricious  order.)  This  poor  later  Renais- 
sance work  has  neither  the  simplicity  of  the  Procuratie 
Vecchie  nor  the  graceful  and  ornate  beauty  of  the  Libreria  ; 
it  well  indicates  the  gradual  modernisation  and  vulgarisation 
of  the  Renaissance  ideals.  The  first  ten  windows  on  the 
side  towards  the  Library  have  figures  on  the  pediments, 
evidently  suggested  by  Michael  Angelo's  Night  and  Morn- 
ing, but  of  little  artistic  value.  The  western  portion  of  the 
building,  no  doubt  for  reasons  /of  economy,  is  less  richly 
decorated.  At  the  present  d'ayv  the  Procuratie  Nuove,  the 
Libreria,  and  the  Zecca,  Ijave  been  i>nited  inside  to  form 
(artificially)  the  Royal  Palace,  which  uias  the  Emperor  of 
Austria's,  and  is  now  the  King  of.  Italy's,  official  residence 
when  in  Venice.  Its  pretty"  gJirden,  at  the  rear  of  the 
Procuratie,  faces  the  lagoon.  The  Palace  contains  a  few 
works  of  art,  which,  however,  you  had  better  leave  unseen 
till  you  have  visited  everything  else  noticed  in  this  volume. 

Till  the  Napoleonic  occupation,  the  west  end  of  the 
Piazza  was  occupied  by  the  new  church  of  San  Geminiano, 
erected  by  Sansovino,  (who  was  buried  in  it,)  in  place  of  the 
old  one,  as  well  as  by  a  few  other  unimportant  buildings. 
But  in  1 8 10  Napoleon  pulled  down  Sansovino's  church  in 
order  to  erect  in  its  place  the  connecting  arcade  and  mass 


102  RENAISSANCE    VENICE  [iV. 

of  buildingo  3t;ll  kViOV/ri  as  the  Niiova '  Fabbrica.  This, 
though  adapted  to  a  certain  extent  to  the  prevailing  tone  of 
the  architecture  of  the  Piazza,  has  decorations  in  the  insipid 
pseudo-classical  style  of  the  First  Empire.  It  was  added  in 
order  to  contain  the  grand  staircase  for  the  rambling  palace 
formed  by  Napoleon  out  of  the  older  buildings. 

The  visitor  will  thus  see  that  the  edifices  v/hich  surround 
the  Piazza  and  Piazzetta,  (including  St.  Mark's  and  the 
Doge's  Palace,)  are  of  very  different  dates,  and  that  they 
represent  almost  every  successive  phase  of  Byzantine, 
Gothic,  early  Renaissance,  high  Renaissance,  late  Renais- 
sance, and  modern  architecture.  Fortunately,  however, 
they  do  not  include  any  rococo  building. 

The  Piazza  is  much  wider  at  its  eastern  than  at  its 
western  end,  but  the  architecture  has  been  cleverly  ar- 
ranged as  far  as  possible  to  conceal  this  inequality.  It  is 
instructive  to  compare  the  present  shape  and  the  present 
buildings  with  those  shown  in  Bellini's  picture.  I  need 
hardly  add  that  the  shops  which  now  occupy  the  ground- 
floors  of  this  magnificent  suite  of  republican  palaces  are  a 
purely  modern  invasion.  In  the  great  days  of  Venice,  the 
Piazza  and  Piazzetta  were  entirely  given  up  to  the  offices 
of  the  State  and  the  residences  of  the  chief  magistrates 
of  the  Commonwealth. 

Spend  as  much  of  your  time  as  possible  in  and  about  the 
Piazza.  Remember  that  nothing  in  Venice  can  compare  in 
importance  with  St.  Mark's,  the  Doge's  Palace,  and  the 
buildings  that  flank  them.  Do  not  waste  on  minor  churches 
precious  hours  that  might  be  given  to  these  most  beautiful 
and  instructive  monuments. 


V 

THE  FOUR   GREAT   PLAGUE- 
CHURCHES 

rT  TEN  ICE,  during  the  Middle  Ages,  was  much  ex- 
|_  V  posed  to  the  chance  of  plague,  owing  to  its 
constant  commercial  intercourse  with  the  crowded  and 
pestilence  -  stricken  towns  of  the  Levant.  When  an 
epidemic  occurs  in  modern  times,  we  improve  the  main 
drainage  and  the  sanitary  conditions  ;  the  Middle  Ages, 
under  similar  circumstances,  regarding  the  disease  as  a 
divine  punishment,  vowed  and  built  a  new  church  to  an 
influential  plague-saint.  In  consequence  of  this  habit  the 
whole  coast  of  the  Adriatic  abounds  in  plague-churches, 
and  in  votive  pictures  dedicated  by  those  who  escaped,  or 
recovered  from,  the  malady.  It  is  therefore  well,  before 
attacking  the  deliberate  study  of  Venetian  painting  at  the 
Academy,  to  become  acquainted  on  the  spot  with  some  at 
least  of  the  Four  Great  Plague-Churches  of  the  city.  In 
the  Academy  we  shall  find  many  such  pestilence-pictures, 
divorced  from  the  surroundings  for  which  they  were  origi- 
nally intended  ;  and  we  can  therefore  the  less  comprehend 
their  import  and  significance.  In  the  plague-churches,  on 
the  other  hand,  we  see  them  in  their  original  places,  and 
in  the  midst  of  other  objects  of  the  same  character.  For 
this  reason  I  would  urge  the  visitor  to  take  this  peculiar 
group  of  churches  (or  at  least  the  first  two  of  them)  thus 
early  in  his  course  ;  and  I  recommend  him  to  inspect  them 
in  the  following  order,  which  is  not  chronological,  but  which 
is  so  arranged  as  best  to  enable  him  to  grasp  their  peculiar 
meaning.     I  have  also  intentionally  laid  most  stress  here, 

103 


104    THE  FOUR  GREAT  PLAGUE-CHURCHES    [v. 

not  on  their  general  artistic  features,  but  on  those  points 
which  help  to  show  their  central  purpose.] 

A.  THE  SALUTE. 

[In  1630  Venice  was  visited  by  an  epidemic  of  the  plague 
of  unusual  violence.  In  the  city,  46,000  persons  perished  : 
in  the  lagoons,  94,000.  As  a  votive  offering  for  escape  from 
the  pestilence,  the  Republic  vowed  a  church  to  Our  Lady 
of  Health  or  of  Deliverance,  (Madonna  della  Salute  :)  and 
in  1631  it  began  the  erection  of  the  existing  building  of 
5anta  Maria  della  Salute.  The  church  was  designed  in 
a  debased  form  of  the  then  fashionable  Palladian  style  by 
Longhena,  a  pupil  of  Palladio's  ;  and,  for  an  edifice  of  its 
period,  it  is  not  ungraceful  in  general  proportions.  Almost 
every  object  of  art  it  contains  (many  of  them  brought  from 
earlier  buildings)  bears  reference  to  pestilence.  Though  it 
is  the  youngest  of  the  plague-churches,  I  take  it  first, 
because  it  is  in  some  ways  the  most  characteristic] 

The  Salute  may  be  reached  (i)  by  gondola  direct  ;  (2) 
by  steamer  to  the  Accademia  (10  c.)  ;  thence  the  pleasantest 
way  is  to  turn  down  the  broad  street,  L.  of  the  Academy, 
till  you  reach  the  Fondamente  delle  Zattere  ;  there  turn  to 
the  L.,  cross  three  bridges  in  a  direct  line,  and  take  the 
broad  street  on  the  L.,  which  leads  you  at  once  within  sight 
of  the  Salute. 

The  exterior  is  singularly  effective  from  a  distance, 
(especially  as  viewed  from  the  Grand  Canal,)  with  its  two 
unequal  domes,  and  its  pair  of  picturesque  bell-towers  at 
the  back.  Its  situation  is  splendid.  The  fine  flight  of  steps 
before  it  also  add  greatly  to  its  effectiveness.  Seen  nearer, 
however,  it  ceases  to  be  beautiful  ;  the  decorations  are 
florid  and  overloaded,  while  the  buttresses  (themselves  a 
sham,  since  the  cupola  is  of  wood  and  therefore  needs  no 
support)  are  affectedly  twisted  into  wriggling  scrolls.  The 
figures  in  the  niches,  (St.  George,  St.  Theodore,  the  Evan- 
gelists, the  Prophets,  Judith  with  the  head  of  Holofernes, 
etc.,)  do  not  deserve  individual  inspection.     At  the  apex  of 


v.]    THE  FOUR  GREAT  PLAGUE-CHURCHES    105 

the  pediment  is  placed  a  statue  of  the  patroness,  Our  Lady, 
who  thus  presides  over  the  church  erected  in  her  honour. 

The  interior  is  circular,  or  rather  octagonal,  with  eight 
radiating  chapels  on  the  outer  row.  R.  of  the  entrance  are 
three  altars,  with  (poor)  scenes  from  the  life  of  the  patroness, 
Our  Lady,  by  Luca  Giordano  :  her  Presentation  in  the 
Temple,  her  Ascension,  her  Nativity.  Over  the  3rd  altar 
to  the  L.  of  the  entrance^  the  Descent  of  the  Holy  Ghost, 
by  Titian,  a  weak  specimen  of  the  master,  much  blackened 
by  time. 

The  High  Altar,  opposite  the  main  entrance,  in  the 
second  circular  portion  or  Presbytery,  under  the  back  dome, 
has  a  vulgar  Baroque  sculptured  altar-piece  by  Justus  le 
Court :  Venice  at  the  feet  of  Our  Lady,  imploring  protection 
from  the  plague  ;  to  the  R.,  Our  Lady  despatches  an  angel 
to  repel  the  dark  demon  of  the  pestilence.  (I  only  mention 
this  ugly  and  florid  work  because  of  its  strikingly  illustrative 
deprecatory  character.)  The  monolithic  columns  of  the 
Presbytery  are  from  a  Roman  temple  at  Pola  in  Istria. 
On  the  ceiling,  Four  Evangelists  and  Four  Fathers  by 
Titian. 

L,  of  the  altar  is  the  entrance  to  the  Sacristy,  which 
contains  a  number  of  typical  plague-pictures,  L.  on  enter- 
ing a  Girolamo  da  Trevisoj  in  the  centre,  the  protector 
against  pestilence,  San  Rocco,  lifting  his  robe  to  show  his 
plague-spot  ;  (see  later  under  the  church  of  San  Rocco  ;) 
R.,  St.  Sebastian,  wounded  with  the  arrows  of  the  pesti- 
lence ;  L.,  St.  Jerome,  patron  saint  of  the  painter,  with  his 
lion  and  book  ;  a  very  characteristic  and  speaking  plague- 
picture.  On  the  other  side  of  the  door,  a  Madonna  and  Child  ; 
close  by,  St.  Sebastian,  by  Marco  Basaiti,  another  plague- 
picture.  Over  the  altar,  *  Titian :  Venice  preserved  from 
the  plague  of  15 10,  in  which  Giorgione  died.  (It  was 
painted  for  the  church  of  Santo  Spirito  in  1513,  and  brought 
to  this  new  plague-church  in  1656.)  In  the  centre  sits  St. 
Mark  enthroned,  as  representative  of  Venice,  his  curious 
seat  apparently  suggested  by  the  sacred  stone  of  the  Re- 
public, the  Pietra  del  Bando.     A  cloud  flits  over  and  casts 


106    THE  FOUR  GREAT  PLAGUE-CHURCHES  [v 

a  shadow  on  his  face,  indicating  that  the  plague  has  at- 
tacked Venice.  It  is,  however,  clearing  away,  and  the 
Evangelist's  body  is  in  bright  sunshine.  To  the  R.,  the  two 
great  plague-saints,  St.  Sebastian,  shot  through  with  arrows, 
and  San  Rocco,  lifting  his  garment  to  show  his  plague-spot. 
To  the  L.,  the  two  medical  saints,  Cosmo  and  Damian,  with 
their  surgical  instruments  and  boxes  of  ointment  :  Damian 
seems  to  point  to  St.  Roch's  symptoms,  as  if  in  consultation. 
The  whole  thus  represents  the  preservation  of  Venice  after 
a  severe  pestilence  by  the  intercession  of  St.  Mark,  whose 
body  she  possesses,  and  of  San  Sebastian  and  San  Rocco, 
to  both  of  whom  she  has  erected  churches,  while  of  one 
she  holds  the  actual  remains  ;  as  well  as  by  the  skill  and 
care  of  her  medical  profession,  with  the  aid  of  the  patron 
saints  of  the  faculty.  This  is,  perhaps,  the  most  character- 
istic example  you  could  find  in  Europe  of  a  local  plague- 
picture.  As  a  specimen  of  Titian,  it  belongs  to  his  early 
period,  when  he  was  still  strongly  influenced  by  Giorgione  : 
but  I  advise  you  to  defer  these  questions  of  the  evolution  of 
art  till  after  you  have  visited  the  Academy.  It  has  been 
badly  restored. 

One  entire  wall  of  this  sacristy  is  occupied  by  *Tinto- 
retids  Marriage  at  Cana  in  Galilee,  a  large  dark  picture, 
much  praised  by  Ruskin — "  colour  as  rich  as  Titian's  ;  light 
and  shade  as  forcible  as  Rembrandt's  " — but  ill  seen  in  its 
present  position.  Such  a  festive  work  obviously  does  not 
belong  to  a  plague-church  ;  it  is  one  of  the  subjects  usually 
painted  for  the  refectories  of  monasteries,  and,  as  a  matter 
of  fact,  this  example  was  brought  from  the  refectory  of  the 
Brotherhood  of  the  Crociferi.  Long  perspective ;  fine  effect 
of  light  :  golden-haired  Venetian  ladies  ;  no  sacredness. 

On  the  ceiling  are  three  paintings  by  Titian^  not  specially 
related  to  the  main  subject  of  the  church  ;  they  represent 
the  Death  of  Abel,  Abraham's  Sacrifice,  and  the  Death  of 
Goliath.  This  Sacristy  contains  several  other  good  pictures, 
(including  one  *lunette,  skied,  from  the  tomb  of  Doge 
Francesco  Foscari,)  which,  however,  I  advise  you  to  neglect, 
as  they  do  not  fall  in  with  the  scheme  of  the  church,  and 


v.]    THE  FOUR  GREAT  PLAGUE-CHURCHES    107 

are  by  no  means  among  the  most  interesting  objects  in 
Venice.  In  the  ante=sacristy  is  a  good  15th-century  kneel- 
ing statue  of  Doge  Agostino  Barbarigo. 


(Close  to  the  Salute,  on  the  W.,  rises  the  beautiful  14th- 
century  Gothic  apse  of  the  church  of  the  Monastery  of 
5an  Qregorio,  now  secularised.  The  courtyard  of  the 
abbey,  let  out  in  tenements,  may  be  reached  by  crossing 
the  bridge  and  taking  the  first  turn  to  the  R.  Though  very 
dilapidated,  it  is,  perhaps,  the  most  picturesque  court  in 
Venice.  Its  gate  towards  the  Grand  Canal  is  quietly 
beautiful,  and  has  a  quaint  figure  of  the  patron,  St.  Gregory, 
over  the  doorway.) 

B.  SAN  ROCCO,  AND  THE  SCUOLA  DI 
SAN  ROCCO. 

[The  most  peculiarly  Venetian  of  the  plague-saints  of  the 
city  is  St.  Roch  or  San  Rocco,  whose  actual  body  lies  in  the 
church  named  after  him,  as  the  body  of  St.  Mark  lies  in 
the  Ducal  Chapel.  This  body  was  in  the  15th  century  one 
of  the  most  precious  possessions  of  Venice. 

S.  Roch  (born  about  1285)  was  a  native  of  Montpellier 
in  Languedoc,  who  devoted  his  life  to  nursing  the  sick  in 
hospitals.  (If  possible,  before  visiting  the  buildings,  read 
his  life  in  full  in  Mrs.  Jameson's  Sacred  and  Legendary  Art; 
I  epitomise  here  as  much  of  his  history  as  is  absolutely 
necessary  for  comprehension  of  the  church  and  scuola.) 
At  Piacenza,  while  nursing  in  the  hospital,  he  found  himself 
plague-stricken  ;  an  ulcer  had  broken  out  on  his  left  thigh, 
and,  in  devotional  pictures,  he  is  generally  represented 
raising  his  robe  to  show  this  deadly  symptom.  Supported  by 
his  pilgrim's  staff,  (always  his  attribute  in  art,)  he  crawled 
feebly  to  a  wood,  where  his  little  dog  alone  attended  him,  and 
brought  him  a  loaf  once  a  day  miraculously  from  the  city. 
An  angel  also  dressed  his  wound  and  healed  him.  His 
subsequent  adventures  are  immaterial ;  he  died,  unknown 
and  a  prisoner,  in  his  native  town  :  but  on  the  strength  of 
these   episodes,  he   became   a  local   plague-saint   of  great 


I08    THE  FOUR  GREAT  PLAGUE-CHURCHES   [v. 

renown  at  Montpellier,  elsewhere  unimportant  till  the  15th 
century.  In  1414,  however,  during  the  sittings  of  the 
Council  of  Constance,  an  epidemic  of  plague  broke  out  in 
that  city  ;  and  on  the  advice  of  a  German  monk  who  had 
travelled  in  Languedoc,  the  effigy  of  St.  Roch  was  carried 
in  procession  through  the  streets  to  abate  it  :  whereupon  the 
pestilence  shortly  disappeared.  This  episode  gave  the  man 
of  Montpellier  great  vogue  as  a  plague-saint.  In  1485, 
during  the  ravages  of  a  plague  in  Venice,  certain  Venetian 
conspirators  stole  the  body  of  St.  Roch  from  its  shrine  at 
Montpellier,  and  carried  if  off  to  their  own  city,  where  it  was 
publicly  received  by  the  Doge  and  senators.  A  splendid 
church  was  at  once  designed  to  cover  it,  and  a  community, 
already  existing  for  the  care  of  the  sick  poor,  engaged 
themselves  to  pay  for  its  erection.  The  stately  guild-house 
of  this  brotherhood  adjoins  the  church,  and  is  decorated  by 
noble  frescoes  of  Tintoretto  and  his  pupils.  Tintoretto, 
(Jacopo  Robusti,)thelastgreatpainterof  Venice,  (1518-1594,) 
worked  here  for  18  years,  having  received  the  commission 
to  paint  the  whole  Scuola.  His  works  in  this  hall  are 
technically  of  the  highest  merit,  for  draughtsmanship,  com- 
position, and  contrasts  of  light  and  shade  :  but  they  are  dark 
and  gloomy,  and,  being  ill  lighted,  have  little  attractiveness 
for  the  general  public.  He  was  a  colossal  and  indefatigable 
genius,  full  of  imagination  and  audacity  :  but  he  often 
spoiled  his  finest  works  by  his  love  of  display,  his  inveterate 
habit  of  posture-making,  and  his  inability  to  resist  showing 
off  his  powers  of  drawing,  especially  as  regards  figures  in 
violent  action.  No  great  artist  has  been  more  variously 
appreciated. 

The  Scuola  is  open  daily  from  10  to  3,  i  franc  per  person. 
Morning  light  desirable.  ] 


San  Rocco  is  best  visited  from  the  steam-boat  station  of 
San  Tomcl.  Thence,  strike  as  straight  inland  as  you  can  go, 
past  San  Tomk  church,  till  you  come  to  the  gigantic  Gothic 
mass  of  the  Frari.  The  passage  to  the  L.  of  this  huge 
brick  building  leads  into  a  square.      In  front  of  you  rises  the 


v.]    THE  FOUR  GREAT  PLAGUE-CHURCHES    I09 

church  of  5an  Rocco.  To  the  L.  you  see  the  palatial 
Renaissance  facade  of  the  5cuoIa.  The  authorities  un- 
fortunately compel  you  to  visit  the  latter  first.  Note  before 
doing  so  the  lofty  and  imposing  marble  front  of  the  Scuola, 
early  Renaissance,  somewhat  Roman  in  type,  15 17,  a 
princely  specimen  of  Venetian  architecture. 

Enter  by  the  far  door  on  the  R.,  near  a  wooden  figure 
of  San  Rocco  lifting  his  robe  to  show  his  plague-spot.  Pay 
I  franc  each  person,  for  the  Church  and  Scuola  inclusive. 
The  word  Scuola  means  a  religious  fraternity  or  charitable 
guild. 

You  reach  first  the  lower  hall  of  the  Scuola,  far  less 
handsome  than  the  upper.  All  the  pictures  hereafter  enumer- 
ated are  by  Tintoretto,  unless  I  state  to  the  contrary.  Those 
who  wish  for  a  complete  analysis  of  these  celebrated  works, 
longer  than  can  be  undertaken  within  the  compass  of  this 
Guide,  may  turn  to  the  3rd  volume  of  Ruskin's  Stones  of 
Venice,  where  they  are  enthusiastically  rather  than  critically 
described.  A  good  and  more  moderate  account  is  also  given 
of  them  in  Karl  K^roly's  Paintings  of  Venice.  Catalogues 
on  panels  are  provided  in  each  room  ;  I  will  therefore  only 
call  special  attention  to  those  works  which  particularly 
refer  to  the  central  purpose  of  the  Church  and  Scuola. 

L.  wall,  opposite  to  you  as  you  enter,  Scenes  from  the 
Infancy:  Annunciation,  *  Adoration  of  the  Magi,  Flight 
into  Egypt,  and  Slaughter  of  the  Innocents  ;  all  highly 
characteristic  of  the  comparative  realism  which  Tintoretto 
introduced  into  sacred  subjects.  (But  you  will  understand 
this  better  after  visiting  the  Academy.)  The  small  pictures  to 
the  L.  and  R.  of  the  altar  (ill  seen)  represent  the  two  desert 
female  saints,  St.  Mary  Magdalen  and  St.  Mary  of  Egypt, 
in  dark  landscapes.  They  typify  the  desolate  condition  of 
the  plague-stricken.  Over  the  altar,  statue  of  San  Rocco, 
(by  Campagna,)  lifting  his  robe,  as  usual,  with  his  pilgrim 
staff,  and  the  dog  that  brought  him  bread  in  the  wilderness. 
(Wilderness  subjects  are  naturally  characteristic  of  this 
Scuola.)  R.  wall,  between  the  staircases.  Circumcision  of 
Christ  ;  beyond  it.  Assumption  of  Our  Lady. 


no    THE  FOUR  GREAT  PLAGUE-CHURCHES   [v. 

Mount  the  staircase. 

First  hviding^  over  the  opening  on  the  R.,  *  Annunciation, 
by  Titian;  over  the  opening  on  the  L.,  *  Visitation,  by 
Tintoretto. 

On  the  sides  of  the  upper  staircase^  late  Renaissance 
pictures  (17th  century)  representing  the  plague,  with  the 
intercession  of  Our  Lady.  In  the  dome  overhead,  by 
Pellegrini.,  San  Rocco  introducing  to  Charity  a  personage 
symbolical  of  the  Scuola  di  San  Rocco. 

The  splendid  upper  hall  of  the  Fraternity — a  magnificent 
and  palatial  apartment — is  decorated  throughout  with  paint- 
ings by  Tititoretto.  The  place  of  honour  over  the  altar  is 
occupied  by  an  altar-piece  of  the  Glorification  of  San  Rocco 
amid  the  plague-stricken.  L.  and  R.  are  statues  by  Cam- 
pagna  of  St.  Sebastian  and  St.  John  the  Baptist, — the  first 
as  a  companion  plague-saint,  the  second  as  the  first  and 
most  typical  saint  of  the  wilderness.  He  foreshadows  San 
Rocco  in  the  wilds  near  Piacenza. 

Around  the  walls  are  New  Testament  pictures,  parallels 
to  events  in  the  life  of  San  Rocco.  The  servant  follows  the 
Master. 

L.  wall,  (beginning  at  the  end  remote  from  the  altar,) 
Adoration  of  the  Shepherds,  Baptism  of  Christ,  Resurrec- 
tion, Agony  in  the  Garden,  Last  Supper  ;  curiously  arranged 
so  that  the  more  important  picture  occupies  the  central  wall 
between  the  windows. 

R.  wall,  beginning  at  the  same  end.  Loaves  and  Fishes, 
Raising  of  Lazarus,  Ascension,  Pool  of  Bethesda,  Tempta- 
tion in  the  Wilderness.  Note  the  relation  of  most  of  these 
subjects  to  the  trial  of  the  Christian  by  the  plague, — the 
Pool  of  Bethesda  representing  healing  ;  the  Temptation  in 
the  Wilderness  symbolising  the  sifting  of  the  faithful  by 
sickness  ;  the  Raising  of  Lazarus,  the  unexpected  recovery 
of  serious  cases,  and  so  forth. 

On  the  end  wall,  between  the  windows,  (almost  im- 
possible to  see,)  the  brother  plague-patrons,  San  Rocco  and 
St.  Sebastian. 

I  am  not  myself  a  Tintoretto  enthusiast,  and  therefore  I 


v.]    THE  FOUR  GREAT  PLAGUE-CHURCHES    III 

feel  incompetent  to  criticise  these  fine  and  pregnant  pictures ; 
for  rapturous  comment,  I  must  refer  the  reader  to  Raskin. 
But  they  need  Httle  explanation  of  the  kind  which  it  is  the 
purpose  of  these  Guides  to  afford  ;  and  they  should  be 
carefully  studied  by  the  visitor  at  his  leisure  on  his  own 
account. 

The  ceiling  contains,  in  its  great  central  panel,  the 
Plague  of  Serpents  and  Raising  of  the  Brazen  Serpent  ; 
subjects  obviously  symbolical  of  the  plague.  The  square 
panels  on  either  side  of  this  compartment  represent  Moses 
Striking  the  Rock,  and  the  Fall  of  the  Manna  ;  both  clearly 
typical  of  healing.  Elijah  and  the  Angel  prefigures  St.  Roch 
and  the  Angel.  All  the  other  subjects  of  this  ceiling,  which 
are  fully  described  on  the  small  hand-screens  supplied  by 
the  custodian,  are  symbolical  of,  or  parallel  with,  the 
episodes  in  the  life  of  San  Rocco  described  in  the  Introduc- 
tion. Daniel  in  the  Den  of  Lions  and  the  Three  Children 
in  the  Furnace  typify  the  trial  of  the  Christian  by  suffering 
—  and  so  forth. 

The  large  door  at  the  bottom  of  the  hall  (remote  from  the 
altar)  leads  into  the  5ala  del  Albergo,  or  guest-room  of 
the  Brotherhood,  the  finest  apartment  of  this  regal  charity. 
Its  general  decorations  afford  a  good  picture  of  the  wealth 
and  dignity  of  the  opulent  old  Venetian  fraternities. 

The  principal  wall,  which  faces  you,  has  Tintoretto's 
masterpiece,  **the  Crucifixion ;  it  requires  careful  study. 
The  other  works  represent  episodes  of  the  Passion.  On  the 
ceiling  is  the  Reception  of  San  Rocco  in  Heaven  by  God 
the  Father  ;  around  are  allegorical  figures  representing 
the  various  virtues  of  the  patron  saint. 

Before  leaving,  ask  back  your  tickets  for  the  church  from 
the  custode. 

The  church  of  San  Rocco,  built  in  1490,  was  entirely 
modernised  in  the  i8th  century,  and  possesses  an  ugly 
late-Baroque  fagade,  only  interesting  from  the  numerous 
figures  of  the  saint  which  adorn  it. 

The  interior  is  bare  and  ugly.     Over  the  first  altar  to  the 


112    THE  FOUR  GREAT  PLAGUE-CHURCHES   [v. 

R.  is  a  plague-picture  by  Rizzi,  representing  a  late  plague- 
patron,  St.  Francis  of  Paola,  resuscitating  a  dead  child. 
On  the  wall  beyond  it,  below,  the  Impotent  Man  at  the 
Pool  of  Bethesda  waiting  for  the  troubling  of  the  waters, 
symbolical  of  the  plague-stricken  looking  to  Christ  for  suc- 
cour, a  large,  confused,  unpleasant  picture  :  above,  San 
Rocco  in  the  wilderness,  with  the  dog  bringing  him  bread 
from  the  city  ;  to  the  R.  and  L.  of  this,  suppliants  imploring 
the  saint  for  succour  ;  all  these  by  Tintoretto. 

In  the  choir,  High  Altar,  a  figure  of  San  Rocco,  baring 
his  leg  to  show  the  plague-spot  ;  to  the  R.  and  L., 
St.  Sebastian  and  the  desert  Father,  St.  Jerome.  On  the 
walls,  R.  side,  below,  San  Rocco  attending  the  plague- 
stricken  in  the  Hospital ;  above,  San  Rocco  healing  the 
diseases  of  animals  ;  L.  side,  above,  the  capture  of  San 
Rocco  at  Montpellier  ;  below,  the  angel  appears  to  the  dying 
San  Rocco  in  prison.  The  subjects  are  confused  and 
difficult  to  understand.  In  the  chapel  R.  of  the  choir  is  a 
miracle-working  picture  by  Titian,  the  Betrayal  of  Christ. 
The  other  pictures  in  the  church  are  uninteresting.  I  have 
brought  you  here  thus  early  mainly  in  order  to  make  you 
feel  the  importance  of  these  plague-churches  and  plague- 
pictures  at  Venice. 

San  Rocco  may  be  visited  with  great  advantage  at  a  later 
stage,  after  you  have  traced  the  evolution  of  Venetian 
painting  at  the  Academy ;  you  may  then  read  Ruskin's 
elucidatory  comments  face  to  face  with  the  pictures  which 
called  them  forth.  I  do  not  deal  with  them  here  as  works 
of  art,  but  rather  as  elements  in  the  plague-protective 
arrangements  of  contemporary  Venice. 

C.  SAN   GIOBBE. 

[As  a  general  rule,  holy  persons  who  died  before  the  Chris- 
tian period  are  not  invoked  by  the  Church  as  saints.  But  on 
the  Adriatic  coast  of  Italy,  so  exposed  to  plague,  an  exception 
was  early  made  in  favour  of  the  Patriarch  Job,  the  grievous 
sufferer  from  boils  and  blains,  plagued  by  Satan  "from  the 
sole  of  his  foot  unto  his  crown  "  ;  it  was  thought  that  he  must 


v.]    THE  FOUR  GREAT  PLAGUE-CHURCHES    II3 

feel  a  personal  sympathy  for  the  plague-stricken,  so  churches 
were  dedicated  to  him  and  pictures  painted  for  him  through- 
out the  whole  of  this  ravaged  region.  No  doubt  the  inter- 
course with  the  East  itself,  where  the  feeling  for  Old  Testa- 
ment saints  was  always  stronger,  contributed  to  this  some- 
what irregular  practice,  an  excuse  for  which  was  found  in  the 
text,  "  Go  to  my  servant  Job,  and  offer  up  for  yourselves  a 
burnt  offering  ;  and  my  servant  Job  will  pray  for  you  :  for 
him  will  I  accept."  But  the  truth  seems  to  be  that  the 
plague-stricken  in  their  despair  were  ready  to  take  any 
chance  ot  relief  that  seemed  to  offer.  (Jeremiah  and  other  Old 
Testament  personages  also  form  similar  exceptions.) 

In  the  poor  and  squalid  district  which  lies  to  the  north- 
west of  Venice,  the  Franciscans,  the  Salvation  Army  of 
their  day,  built  a  church  to  St.  Job,  near  the  crowded 
and  insanitary  Jewish  Ghetto.  The  adjacent  parish,  also 
Franciscan,  is  that  of  Sant'  Alvise— z>.  St.  Louis  of  Toulouse, 
the  prince  who  gave  up  the  inheritance  of  a  crown  for  the 
coarse  brown  robe  of  a  begging  friar.  A  knowledge  of  these 
facts  is  necessary  to  a  proper  comprehension  of  San  Giobbe, 
and  of  the  works  of  art  elsewhere  removed  from  it.  The  ex- 
isting somewhat  uninteresting  church,  in  the  early  Renais- 
sance style,  dates  from  1462,  and  was  designed  by  Pietro 
Lombardo.  Though  it  lies  remote,  and  contains  few  objects 
of  interest,  I  strongly  advise  a  visit  to  it,  and  to  the  neigh- 
bouring church  of  Sant'  Alvise,  before  the  visitor  begins 
his  studies  at  the  Academy.] 


San  Giobbe  may  be  reached,  (i)  direct  by  gondola  ;  (2)  on 
foot,  by  the  Merceria  ;  thence,  turning  R.  at  Goldoni's  statue, 
along  the  new  main  thoroughfare  known  as  the  Corso,  to  the 
Cannaregio  ;  (3)  by  steamer  (10  c.)  to  San  Geremia  station. 
All  three  routes  unite  at  San  Geremia,  whence  one  may  walk 
on  either  side  of  the  Cannaregio  or  Canal  di  Mestre  (R. 
side  preferable).  The  great  palace  opposite,  next  to  the 
church  of  San  Geremia,  is  the  Palazzo  Labia,  17th  century, 
imposing  by  mere  mass.  The  first  bridge  over  the  canal  is 
decorated  (or  the  opposite)  with  grotesque  heads  of  the  worst 

G.  V.  H 


114    THE  FOUR  GREAT  PLAGUE-CHURCHES   [v 

baroque  period,  justly  stigmatised  by  Ruskin  for  their  un- 
speakable foulness  and  vileness  of  expression.  Beyond  it,  on 
the  L.,  the  first  building  is  the  uninteresting  Palazzo  Manfrin^ 
(feeble  picture  gallery  :)  while  on  the  R.  towers  the  Ghetto 
Vecchio,  looking  from  this  point  like  a  single  building,  but 
really  a  tangled  mass  of  tenements.  Go  as  far  as  the  bridge 
with  three  arches,  across  the  Cannaregio,  and  then  turn  to 
the  L.  A  minute's  walk  brings  you  thence  into  the  little 
Campo  of  San  Giobbe,  in  front  of  the  church  and  the  desolate 
former  Franciscan  monastery.  The  lonely  small  yard,  with 
its  well  and  aixade,  is  strangely  picturesque  in  its  downfall. 
The  best  point  about  the  church  is  its  doorway,  a  fine  piece 
ot  early  Renaissance  work,  in  the  style  of  the  Lombardi.  On 
the  pilasters  are  admirable  winding  convolvulus  plants,  with 
exquisite  birds  ;  the  capitals  are  semi -classical,  acanthus 
leaves  and  ox-sculls.  In  the  lunette  is  a  striking  Franciscan 
relief,  inferior  in  workmanship  to  the  decorative  detail,  but 
full  of  inner  meaning  ;  it  represents  Sinai,  as  a  mount  of 
light,  upon  which  rays  ot  mercy  descend  from  heaven  ;  to 
the  L..  St.  Francis  kneels  in  prayer ;  to  the  R.,  St.  Job  ;  thus 
mingling  the  Jewish  and  Christian  dispensations,  and 
pointing  out  that  plague  and  misery  on  the  one  hand,  and 
salvation  on  the  other,  come  to  Jew  and  Christian  alike. 
The  close  proximity  of  the  crowded  and  insanitary  Ghetto  of 
course  gives  point  to  this  impressive  and  speaking  symbol. 
On  the  summit  of  the  arch  and  on  the  entablature  are  placed 
excellent  statuettes  (probably  by  Pietro  Lombardo)  of  three 
great  Franciscan  saints,  all  more  or  less  connected  with  the 
ministry  to  the  plague-stricken, — St.  Antony  of  Padua,  the 
patron  of  suffering  children  ;  St.  Bernardino  of  Siena,  with 
his  symbol,  the  I.H.S.  ;  and  St.  Louis  of  Toulouse,  (Sant' 
Alvise )  in  canonicals  as  Bishop,  to  represent  the  adjacent 
parish,  also  Franciscan.  The  whole  work  is  thus  very 
appropriate  to  a  Franciscan  mission  church,  m  a  poor  and 
densely  packed  district,  inhabited  alike  by  Jews  and  Chris- 
tians. 

The  interior  has  relatively  few  plague-objects,  though  one 
or  two  may  be  detected  by  the  reader  for  hmiself  on  the 


v.]  THE  FOUR  GREAT  PLAGUE-CHURCHES    II5 

strength  of  the  information  aheady  supplied  him.  I  will  not 
here  repeat  it.  There  is  also  much  good  plastic  work  of  the 
school  of  the  Lombardi.  Near  the  door,  statuette  of  St. 
Antony  of  Padua,  symbolically  carrying  the  infant  Christ. 
Left  aisle,  ist  chapel,  by  Pietro  Grimani,  (circa  1550,)  fine 
stone  carving.  2nd  chapel,  of  Florentine  architecture  and 
sculpture,  (probably  by  Rossellino,)  fine  marble  altar  ;  on  the 
ceiling,  the  Four  Evangelists,  glazed  terra-cotta,  by  Luca 
della  Robbia  :  an  intrusive  bit  of  Florence  at  Venice.  In 
the  choir,  exquisite  *reliefs  and  ^decorative  friezes  by  Pietro 
Lombardo,  erected  at  the  expense  of  Doge  Cristoforo  Moro 
(the  donor  of  the  existing  building)  in  1462.  Below 
is  his  tomb,  bearing  his  device,  the  mulberry  {nioro)  also 
by  the  Lombardi.  In  the  Sacristy  is  a  portrait  of  Doge 
Moro,  copy,  after  Bellini  .  as  well  as  a  good  picture  by 
Previtali,  Madonna  and  Child,  with  St.  John  Baptist  and  St. 
Catharine — a  marriage  of  St.  Catharine,  (duplicate  m  the 
National  Gallery  in  London.)  Also,  a  terra-cotta  bust  of  St. 
Bernardino  of  Siena,  the  great  Franciscan  preacher. 

But  the  main  reason  why  I  have  brought  you  thus  early  to 
this  small  church  is  this — its  chief  altar-piece  was  formerly  a 
famous  picture  by  Giovanni  Bellini,  which  you  will  see  here- 
after at  the  Academy — a  plague-picture  devoted  to  St.  Job 
and  his  Franciscan  fellow-saints — the  meaning  of  which 
will  only  become  apparent  to  you  after  you  have  seen  this 
church  with  its  expressive  and  allusive  doorway.  Go  round 
the  building,  then,  with  these  two  main  ideas  in  your  head — 
first,  that  it  is  a  plague-church,  dedicated  to  St.  Job  ;  and, 
second,  that  it  is  a  Fraticiscan  church,  full  of  memorials  of 
the  Franciscan  missionary  saints,  who  likewise  ministered  to 
the  poor  and  suffering. 


Sant'  Alvise,  close  by,  may  conveniently  be  visited  at  the 
same  time.  It  was  built  by  Antonia,  daughter  of  Doge 
Antonio  Venier,  in  1388,  in  obedience  to  a  vision  in  which  the 
good  Franciscan  bishop,  St.  Louis  of  Toulouse,  appeared  to 
her  miraculously.  It  was  a  7iu)is'  church  and  has  therefore 
a  nuns'  singing  gallery,  screened  by  fine  ironwork.      Among 


Il6    THE  FOUR  GREAT  PLAGUE-CHURCHES  [v. 

its  pictures  is  one,  uninteresting,  by  the  Heirs  of  Paolo 
Veronese,  representing  St.  Louis  at  the  feet  of  Pope  Boni- 
face VIII.  The  building  is  chiefly  famous,  however,  for 
eight  small  panels,  absurdly  overpraised  by  Ruskin,  and 
attributed  by  him  to  Carpaccio  as  a  boy  of  eight  or  ten. 
They  are  obviously  the  work  of  a  poor  imitator  of  the 
master's  manner.  The  subjects  are  scenes  from  the  Old 
Testament  history. 

D.  SAN  SEBASTIANO. 

[St.  Sebastian  the  martyr,  who  was  shot  through  with 
arrows,  but  miraculously  recovered,  though  he  afterwards 
died  by  being  beaten  to  death  with  clubs,  was  from  an 
early  date  the  chief  patron  against  plague  and  pestilence 
throughout  the  whole  of  Europe.  (See  his  legend  in  Mrs. 
Jameson.)  Arrows  had  been  regarded,  indeed,  from  clas- 
sical times  as  the  common  symbol  of  pestilence.  A  Jerony- 
mite  monastery  and  church  in  honour  of  this  most  ancient 
and  revered  of  plague-saints  existed  in  early  mediaeval 
Venice  ;  but  the  present  remodelled  building  dates  only  from 
1506-1518,  and  is  a  tolerable  specimen  of  the  Renaissance 
art  of  the  period.  It  is  interesting,  however,  both  as  one  of 
the  Four  Great  Plague-Churches  of  the  city,  and  also  as 
being  the  favourite  church  of  Paolo  Veronese,  who  is 
buried  in  it,  and  who  painted  here  some  splendid  scenes 
from  the  life  of  St.  Sebastian  and  his  companions.  As  the 
tourist  will  by  this  time  be  tolerably  familiar  with  the  art  of 
the  votive  plague-offerings,  I  will  not  in  this  case  lay  so  much 
stress  as  previously  on  these  particular  features. 

Paolo  Veronese,  when  he  first  came  from  Verona  to 
Venice,  was  employed  by  the  Jeronymites  to  decorate  their 
Sacristy,  and  also,  later,  the  ceiling  of  their  church.  These 
were  his  first  commissions,  and  they  brought  him  into  much 
notice. 

As  this  is  a  Jeronymite  church,  look  out  for  St.  Jerome  as 
well  as  St.  Sebastian.  The  monastery  is  dissolved  :  from 
its  Refectory  came  the  gorgeous  Veronese  of  the  Supper  in 
the  House  of  the  Pharisee  now  in  the  Brera  at  Milan.] 


v.]   THE  FOUR  GREAT  PLAGUE-CHURCHES    II7 

San  Sebastiano  may  be  reached,  on  foot,  from  the  Zattere 
by  continuing  along  the  quay  till  you  arrive  at  the  Rio  di  San 
Sebastiano  ;  or,  direct,  in  a  gondola. 

The  faqade  is  uninteresting,  but  has  on  the  apex  of  its 
pediment  a  figure  of  the  patron  saint,  wounded  with  arrows. 
Near  the  door,  small  figures  of  St.  Sebastian  and  St.  Jerome. 
On  a  house  to  the  L.  in  the  little  Campo  (once  part  of  the 
monastery)  is  another  statuette  of  the  patron  saint,  with  the 
crown  of  martyrdom. 

The  interior  is  bare,  but  has  a  handsome  painted 
ceiling. 

Begin  with  the  R.  wall.  The  \st  chapel,  of  St.  Nicholas, 
has  a  fine  seated  figure  of  that  holy  bishop,  enthroned,  by 
Titian  ;  an  angel  holds  his  mitre  ;  beside  him,  the  three 
balls  which  are  his  symbol.  On  the  second  altar,  partially 
hiding  the  altar-piece,  is  a  dainty  little  *Madonna  by  Paolo 
Veronese,  with  St.  Antony  of  Padua  (lily)  and  St.  Catharine 
of  Alexandria,  the  latter  presenting  a  dove  to  the  infant 
Saviour.  St.  Antony  is  a  portrait  of  the  prior  of  the 
monastery  at  the  time  it  was  painted.  The  third  altar  has 
a  sculptured  altar-piece  by  Tommaso  Lombardo  (1547)  of 
Our  Lady  and  the  Child,  with  the  infant  St.  John  the 
Baptist,  of  a  type  made  popular  by  the  Florentine  sculptors. 
The  architecture  of  the  niche  is  better  than  the  marble  group 
within  it.  The  fourth  altar,  (of  black  and  white  marble,  with 
ugly  spiral  columns,  symbolically  mourning,)  has  a  Crucifixion 
by  Veronese,  superior  in  feeling  to  most  of  his  sacred  works; 
the  attitudes  of  the  fainting  Mater  Dolorosa  and  of  St.  John 
show  increasing  freedom  of  treatment ;  the  Mary  Magdalen, 
however,  though  not  without  pathos,  is  one  of  his  usual 
handsome  Venetian  women.  (You  will  appreciate  these 
pictures  better  after  you  have  studied  the  development  of 
Venetian  art  at  the  Academy.)  At  the  sides  are  figures 
(by  Alessandro  Vittoria)  of  Our  Lady's  husband,  St.  Joseph, 
bearing  the  budded  staff,  and  her  Mother,  St.  Anna. 
Beyond  the  pulpit  is  the  monument  of  Bishop  Livio  Podoca- 
taro,  (d.  1555,)  by  Sansovino,  a  Renaissance  work  of  a  type 
with  which   we    will  hereafter  become  more  familiar  ;  the 


Il8   THE  FOUR  GREAT  PLAGUE-CHURCHES    [v. 

recumbent  figure  of  the  Bishop  lies  on  his  sarcophagus  ; 
above,  Our  Lady  and  the  Child. 

The  little  chapel  beside  the  apse  has  nothing  of  interest. 

The  apse,  with  a  dome,  is  entirely  devoted  to  the  glorifi- 
cation of  St.  Sebastian,  and  of  his  companion  martyrs,  St. 
Marcus  and  St.  Marcellinus.  The  altar-piece  is  an  Apotheosis 
of  St.  Sebastian,  who  is  seen  below,  bound  to  the  pillar  at 
which  he  was  shot.  On  the  R.  are  St.  Mark  with  his  Gospel, 
(representing  Venice,)  and  St.  Francis  with  the  cross  and 
stigmata  (representing  the  Franciscan  Jeronymites  : )  on  the 
L.,  St.  John  the  Baptist  and  St.  Catharine  of  Alexandria,  with 
the  palm  of  her  martyrdom  ;  above,  in  clouds.  Our  Lady  and 
the  Child,  waiting  to  receive  the  soul  of  the  glorious  martyr. 

The  large  ^picture  on  the  R.  wall  represents  the  final 
actual  martyrdom  of  St.  Sebastian,  (who  was  beaten  to  death 
after  recovering  from  his  arrow-wounds,)  before  a  Roman 
official  habited  like  a  great  Venetian  magnate  of  Veronese's 
own  period  ;  the  palatial  late  architecture,  and  the  dogs  and 
other  accessories,  are  highly  characteristic  of  the  painter's 
manner.  But  as  a  whole  the  work,  though  with  good  points, 
is  confused  and  turgid. 

The  magnificent  **picture  on  the  L.  wall  may  be  regarded 
as  one  of  Veronese's  masterpieces.  On  the  steps  of  a  soaring 
and  spacious  Renaissance  palace  the  two  saints,  Marcus 
and  Marcellinus,  with  their  hands  and  feet  bound  in  ropes  or 
chains,  set  out  for  martyrdom.  Their  mother,  close  by,  (to 
the  L.,)  implores  them  to  save  their  lives  by  abjuring  Chris- 
tianity ;  to  the  R.,  their  father,  a  dignified  old  man  with  a 
long  beard,  in  senatorial  robes,  adds  the  force  of  his  prayers 
to  their  mother's.  Friends  surround  and  persuade  them. 
But  in  the  centre  of  the  picture,  St.  Sebastian,  a  vivid  and 
eager  young  Roman  soldier  in  full  armour,  bearing  a 
standard,  encourages  the  martyrs  to  prove  their  devotion  to 
the  faith  by  going  to  their  death  gladly.  The  vigour,  spirit, 
and  dramatic  action  of  the  fiery  young  saint,  consumed  by 
zeal  for  his  religion,  and  wild  with  enthusiasm,  is  very 
remarkable  ;  he  seems  to  hurry  us  after  him.  The  by- 
standers, the  accessories,  and  the  imaginary  palatial  archi- 


v.]   THE  FOUR  GREAT  PLAGUE-CHURCHES    II9 

tecture,  in  the  style  of  Sansovino's  Libieria  Vecchia,  then 
comparatively  lately  completed,  are  all  full  of  Veronese's 
feeling  as  well  as  of  the  sumptuous  and  spacious  sense  of 
16th-century  Venice. 

On  the  L.  wall  is  the  organ,  the  shutters  of  which  are  also 
painted,  by  Veronese,  with  subjects  more  or  less  relating  to 
the  plague.  On  the  outer  shutters  is  the  Purification  of 
Mary  in  the  Temple,  a  picture  which  almost  foreshadows 
Rubens  ;  it  seems  to  typify  purification  from  the  pestilence. 
On  the  inner  shutters  (when  open)  is  the  Pool  of  Bethesda, 
which,  as  we  have  seen  at  San  Rocco,  is  a  usual  plague- 
subject. 

In  the  \st  chapel  on  this  wall  is  a  good  bust  of  Paolo 
Veronese  himself,  surmounting  his  tomb.  The  2nd  chapel, 
of  St.  John  the  Baptist,  has  a  Baptism  of  Christ,  by  Veronese, 
interesting  for  comparison  with  earlier  treatments  both  of  the 
central  figures  and  of  the  attendant  angel.  On  the  last  altar, 
St.  James  the  Greater,  between  two  or  three  ill-discrimi- 
nated saints  ;  observe  his  scallop-shell,  which  is  also  quaintly 
represented  in  stone  on  the  steps  of  the  altar.  (It  was  his 
symbol,  worn  by  pilgrims  to  his  great  Spanish  shrine  of 
Santiago  de  Compostella.) 

The  fine  carved  ceiling  has  *scenes  by  Veronese  from  the 
Life  of  Esther  mentioned  in  the  Introduction.  Nearest  the 
door,  she  goes  to  Ahasuerus  ;  centre,  she  is  crowned  queen  ; 
nearest  the  apse,  Mordecai's  triumph. 

This  church,  though  wholly  given  over  to  the  cult  of  St. 
Sebastian,  is  perhaps  in  its  symbolism  the  least  characteristic 
of  the  great  plague-churches. 


VI 

THE  ACADEMY 

THE  great  collection  of  Venetian  pictures,  the  most 
important  object  to  be  seen  in  Venice,  after  St. 
Mark's  and  the  Doge's  Palace,  is  housed  (since  the  French 
Revolution)  in  a  building  now  known  as  the  Accademia 
delle  Belle  Arti.  But  the  edifice  itself  was  erected  (in 
great  part)  far  earlier,  and  for  a  very  different  purpose  ;  and 
since  some  of  its  noble  halls  still  retain  their  old  shape  and 
primitive  splendour,  while  some  few  of  its  pictures  still  oc- 
cupy their  original  places,  it  may  be  well  to  know  before- 
hand the  history  of  the  building. 

The  Scuola  della  Carita  (Brotherhood  of  Charity)  was 
the  earliest  of  the  great  Venetian  Scicole  {not  Schools,  but 
lay  charitable  Fraternities  :)  and  the  Scuole  di  San  Rocco, 
di  Sant'  Ursula,  and  di  San  Giovanni  Evangelista  (the  two 
last  to  be  described  later)  were  to  some  extent  imitations 
of  it.  The  Fraternity  was  founded  in  1260,  for  the  purpose 
of  ransoming  Christian  captives  among  the  Infidels  and  for 
other  charitable  objects.  The  larger  part  of  the  existing 
building  is  late  in  date,  having  been  erected  by  the  great 
Renaissance  architect  Palladio  in  1552.  In  1807,  Napoleon, 
after  his  conquest  of  Italy,  turned  the  place  into  an  Academy 
of  Art,  and  brought  here  many  pictures  from  suppressed 
churches,  monasteries,  and  charitable  guilds.  The  collection 
has  since  been  increased  from  various  sources,  and  the 
building  enlarged  by  recent  additions. 

The  Academy  is  the  best  place  in  which  to  form  an  idea 
of  the   consecutive  development  of   Venetian  art.     It 


VI.]  THE  ACADEMY  121 

contains  few  but  Venetian  pictures  ;  and  in  the  following 
description,  I  lay  stress  for  the  most  part  upon  these  only, 
to  the  comparative  exclusion  of  alien  Italian  or  foreign  works. 
It  is  only  necessary  to  know  beforehand  that  native  paint= 
ing  came  later  in  Venice  than  elsewhere  in  Italy,  and  that 
for  many  ages  the  Venetians  were  content  with  Byzantine 
works  which  they  imported  from  Constantinople  or  Mount 
Athos.  When  a  native  school  began  to  arise,  it  based  itsell 
curiously  upon  four  distinct  sources  ;  part  of  its  spirit  was 
Byzantine  or  Byzantinesque  ;  part  U?nljr2an,  of  the  school 
of  Gentile  da  Fabriano,  who  painted  in  the  old  Doge's 
Palace  ;  part  Padtmn,  of  the  classical  and  formal  school  of 
Squarcione  ;  and  part,  very  singularly,  German  or  Rhenish, 
being  derived  from  one  Giovanni  da  Allemagna,  (or  Ala- 
manno,  or  Vivarini,  or  da  Murano,)  an  artist  who,  whether 
Muranese  by  birth  or  not,  was  clearly  trained  in  the  Cologne 
School^  the  influence  of  which  we  shall  abundantly  trace 
through  much  subsequent  Venetian  painting. 

The  official  numbering  of  the  rooms  is  neither  chrono- 
logical nor  well  adapted  for  following  out  the  history  of 
Venetian  art  ;  I  therefore  prefer  to  take  the  visitor  through 
the  Gallery,  in  the  following  brief  notes,  in  an  order  which 
seems  to  me  best  calculated  to  give  him  a  connected  idea 
of  the  evolution  of  painting  in  Venice.  If  he  will  accept 
my  directions,  I  think  he  will  gain  a  better  conception  of 
the  contents  of  the  Gallery  than  he  could  obtain  by  walking 
straight  through  the  rooms  in  the  official  order. 

Do  not  try  to  see  the  whole  of  the  Academy  at  once  ; 
come  here  often,  and  study  slowly.  If  your  time  is  limited, 
confine  yourself  mainly  to  Rooms  XX.,  II.,  XV.,  XVI.,  and 
XVII.,  with  the  Paris  Bordone  of  "The  Doge  and  the 
Fisherman"  in  Room  X. 

The  Academy  is  open  on  week-days  from  9  to  3,  i  franc  : 
on  Sundays  from  10  to  2,  free.     Take  your  opera-glass.] 


The  Academy  may  be  reached  in  three  ways  :  (i)  by 
gondola  ;  (2)  by  omnibus  steamer,  which  stops  at  the  door 
(10  c.)  ;  (3)  on  foot,  thus  ;  from  the  south-west  corner  of  the 


122  THE   ACADEMY  [vi. 

Piazza  San  Marco,  through  the  Calle  San  Moise,  past  the 
appalling  and  ugly  baroque  fagade  of  the  church  of  5an 
Moise,  (L.,)  overloaded  with  fly-away  ornament,  (i66S,)  in- 
cluding what  are  meant  for  camels  but  look  like  llamas  ; 
then,  by  the  Via  22  Marzo,  past  the  uglier  and  still  more 
barbarous  fagade  of  5.  Maria  Zobenigo,  (1680  ;)  obliquely 
(to  the  R.)  across  the  Campo  San  Maurizio,  and  obliquely 
(to  the  L.)  across  the  broad  Caiupo  S.  Stefano  ;  thence  by 
the  Iron  Bridge  to  the  door  of  the  Academy.  The  view 
from  the  bridge,  (or  still  better  from  the  Campo  beyond  it,) 
looking  back  on  the  russet  houses,  the  red  tower  of  S.  Vitale, 
(S.  Vidal,)  and  the  Palazzo  Cavalli,  recently  renovated  for 
Baron  Franchetti,  (a  Murano  glassmaker,)  is  picturesque 
and  striking. 

Before  entering  the  Academy,  stand  in  the  little  Campo 
della  Caritk,  to  the  left  of  the  main  door,  (with  Minerva  on 
a  lion.)  You  have  here,  to  the  L.,  the  secularised  church 
of  the  Caritk  (14th-century  Gothic)  now  sadly  ruined  by 
alterations  in  its  windows,  and  forming  part  of  the  Academy. 
In  front  of  you  stands  the  old  gateway  of  the  Sciioia  della 
Carita.  Notice,  centre,  the  gilt  relief  of  Our  Lady  of  Charity, 
attended  by  angels  :  the  Child  holds  out  his  caressing  hand 
to  membei's  of  the  Fraternity  below.  On  the  L.  is  St. 
Leonard  (bearing  the  fetters  which  are  his  symbol  as  patron 
of  captives)  with  two  members  of  the  Brotherhood  ;  on  the 
R.,  St.  Christopher  bearing  the  infant  Christ.  These  form 
a  charming  memorial  of  the  original  purpose  of  the  building  : 
dated,  1377. 

Pay.     Mount  the  stairs.     The  first  room  which  we  enter. 

Room  L 

Hall  of  the  Ancient  Masters, 

contains  the  earliest  work  of  the  Venetian  Painters.  The 
splendid  apartment  also  retains  its  original  decoration  as 
the  Hall  of  the  Scuola.  It  was  adorned  with  a  Renaissance 
roof  at  the  expense  of  a  brother  named  Cherubino  Aliotti ; 
but  as  the  rules  of  the  Scuola  prevented  any  member  from 
putting  his  name  on  his  gifts,  he  has  preserved  his  memory 


VI.]  THE   ACADEMY  123 

allusively  in  the  eight-winged  cherubs,  which  form  a  rebus 
on  his  name,  (Cherubino  Ali-otti,)  in  the  lozenge-panels  of 
the  handsome  ceiling. 

The  pictures  in  this  room,  though  perhaps  less  interesting 
at  first  sight  to  the  ordinary  tourist  as  works  of  art  than 
the  developed  masterpieces  of  later  periods,  must  be  care- 
fully studied  by  any  one  who  wishes  really  to  understand  the 
development  of  Venetian  painting.  They  form  the  start- 
ing=point,  and  strike  the  key-notes  ;  without  them,  you 
cannot  rightly  comprehend  what  comes  later. 

Begin  at  the  further  end  of  the  room,  to  the  R.  of  the 
door  which  leads  into  the  next  hall. 

I.  Jacobello  del  Ftore,  1433.  Coronation  of  the  Virgin, 
altar-piece  from  the  Cathedral  of  Ceneda.  In  the  centre, 
our  Lord,  enthroned,  crowns  his  mother.  On  either  side, 
clouds  of  cherubs  in  blue  and  seraphs  in  red.  Beneath  the 
throne,  the  four  Evangelists,  in  niches,  writing  their  Gospels. 
Below  again,  angels  (perhaps  the  Holy  Innocents)  with 
musical  instruments.  On  the  L  ,  a  row  of  Prophets  (named 
on  scrolls  :)  Jeremiah,  Solomon,  David,  etc.  Behind  them, 
a  row  of  Saints,  headed  by  St.  Christopher ;  each  saint 
and  prophet  attended  by  an  angel.  On  the  R.,  a  row  of 
Patriarchs,  headed  by  Moses.  Behind  them,  a  tier  of  saints 
again,  with  attendant  angels.  To  the  far  L.,  below,  Virgins. 
To  the  R.,  the  Bishop  of  Ceneda,  (a  Dominican,)  the  donor 
of  the  picture,  a  small  figure,  kneeling  ;  behind  him  the 
sainted  patron  of  his  diocese  ;  then,  St.  Dominic,  with  the 
lily,  as  spiritual  father  of  the  donor  ;  St.  Thomas  Aquinas, 
philosopher  of  the  Dominican  order,  with  church  and  book  ; 
and  St.  Francis,  with  the  stigmata.  A  good  picture  in  the 
hard,  dry,  early  decorative  manner. 

Compare  this  at  once  with  a  somewhat  later  version  of 
the  same  subject  (much  repainted)  by  Antonio  Murano  and 
Giovanni  Alamanno,  (John  the  German,)  *No.  23,  at  the 
corresponding  place  to  the  L.  of  the  doorway.  Above, 
Christ  crowns  his  Mother,  in  the  presence  of  the  Father  and 
the  Holy  Spirit.  Beneath  the  throne  stand  the  Holy  Inno- 
cents (proved  as  such  by  analogy)  bearing  the  column  at 


124  THE  ACADEMY  [vi. 

which  Christ  was  scourged  and  the  instruments  of  the  Pas- 
sion. Further  below,  again,  are  the  four  Evangelists  with 
their  symbols,  the  angel,  lion,  eagle,  and  bull ;  St.  Luke,  to 
the  R.,  holds  the  miraculous  portrait  of  the  Virgin  which 
he  painted,  and  which  is  now  in  the  chapel  of  Our  Lady  in 
St.  Mark's.  To  the  L.,  behind  St.  John,  come  two  of  the 
Fathers  of  the  Church,  St.  Jerome,  with  his  church  and 
book,  and  St.  Gregory  with  the  Papal  tiara ;  to  the  R., 
behind  St.  Luke,  we  see  St.  Ambrose  and  St.  Augustine, 
the  former  holding  the  bones  of  St.  Protasius  and  St.  Ger- 
vasius  which  he  discovered  by  a  miracle.  In  the  back- 
ground looms  a  crowd  of  saints,  conspicuous  amongst  whom 
are  St.  Agatha,  with  her  breasts  in  a  dish  ;  St.  Barbara,  with 
her  tower  ;  St.  Mary  Magdalen,  with  the  alabaster  box  of 
ointment  ;  and  St.  Catharine,  with  her  wheel,  all  to  the  L. 
Many  other  saints  can  be  discriminated  by  their  symbols. 
The  painting  (1440)  marks  an  advance  upon  the  last  example, 
and  shows  German  influence.  This  is  a  good  specimen  of 
the  manner  of  the  Vivarini,  the  able  founders  of  the  School 
of  Murano.  (Perhaps  a  copy  of  one  in  S.  Pantaleone.) 
Continue  down  the  right  wall. 

2.  Antonio  Veneziano.  A  little  altar-piece,  with  Madonna, 
St.  John  Baptist,  and  St.  Jerome  ;  above,  an  Annunciation, 
in  two  divisions. 

3.  Michele  Giambono,  (who  designed  the  mosaics  in  the 
Mascoli  Chapel  at  St.  Mark's  :)  about  1440.  Altar-piece 
for  the  Scuola  del  Cristo  at  the  Giudecca.  In  the  centre, 
Christ,  as  patron  of  the  Scuola  :  to  the  L.,  St.  John  the 
Evangelist  ;  then,  St.  Benedict,  in  black  Benedictine  robes, 
grasping  the  book  of  his  rule  ;  to  the  R.,  St.  Michael  the 
archangel,  holding  the  scales  with  which  he  weighs  souls, 
and  trampling  on  the  dragon  ;  and  St.  Louis  of  Toulouse  ; 
at  his  feet,  the  crown  which  he  renounced  for  the  monastic 
profession. 

4.  Simone  da  Cusighe.  (2nd  half  of  14th  century.)  Four 
little  scriptural  episodes,  the  Entombment,  the  Resurrection, 
the  Ascension,  and  the  Descent  of  the  Holy  Ghost.  Notice 
in  the  last  the  ton^^ues  of  fire. 


VI.]  THE   ACADEMY  1 25 

5.  Lorenzo  Veneziano,  1357.  Fragments  of  an  altar-piece  ; 
two  good  figures  of  St.  Peter  and  St.  Mark.  Observe  the 
conventional  types  of  these  two  faces. 

7.  Early  School  of  Siena.  Altar-piece  for  the  Dominican 
Nunnery  at  Murano,  with  five  Dominican  female  saints, 
in  Dominican  dress,  with  their  proper  symbols  and  their 
names  inscribed  ;  beneath  them,  the  visitation  by  which  the 
Redeemer  revealed  himself  miraculously  to  each. 

8.  St.  Benedict  and  donors. 

9.  Lorenzo  Veneziano,  1357.  Annunciation  ;  the  angel, 
as  usual,  to  the  L.,  and  Our  Lady  to  the  R.  ;  above,  God 
the  Father  sends  out  the  Holy  Spirit  and  the  infant  Christ 
(a  rare  treatment :)  L.,  St.  Gregory  and  St.  John  the  Bap- 
tist ;  R.,  St.  James  the  Greater,  (erroneously  described  in 
the  Catalogue  as  San  Rocco,)  with  staff  and  scallop-shells, 
and  St.  Stephen,  with  the  stones  of  his  martyrdom. 

*io.  Lorenzo  Veneziano.  Splendid  altar-piece  (for  Sant' 
Antonio  di  Castello)  in  several  sections  ;  centre.  Annuncia- 
tion, with  tiny  donors— compare  it  with  the  preceding  ;  L. 
St.  John  the  Evangelist,  St.  Mary  Magdalen,  St.  Dominic 
with  the  lily,  and  St.  Francis  with  the  stigmata,  the  latter 
nearest  our  Lord,  this  being  the  altar-piece  of  a  Franciscan 
church  :  to  the  R.,  St.  Antony  the  Hermit,  with  Tau- 
shaped  cross  on  his  robe,  as  patron  of  the  church  ;  St.  John 
Baptist,  St.  Paul  (sword),  and  St.  Peter  (keys).  Notice  the 
conventional  types  of  these  faces  :  each  apostle  has  his 
recognised  cast  of  features.  The  figure  of  God  the  Father, 
above,  sending  down  the  Holy  Ghost,  was  inserted  much 
later,  and  is  by  Benedetto  Diana.  Study  this  altar-piece 
closely  for  its  concentrated  symbolism. 

\\.  Jacopo  Moranzonc.  Altar-piece  of  the  suppressed 
church  of  St.  Elena  in  Isola.  Centre,  the  Assumption  of 
Our  Lady,  who  is  being  raised  in  a  mandorla.,  or  almond- 
shaped  glory,  by  six  angels  ;  L.,  St.  Helena,  mother  of  Con- 
stantine,  and  patroness  of  the  church  for  which  this  was 
painted,  holding  the  True  Cross  which  she  discovered  ;  then, 
St.  John  Baptist ;  R.,  St.  Benedict,  and  St.  Elizabeth  of 
Hungary  ;  the  later  identification  I  think  doubtful. 


126  THE   ACADEMY  [VI. 

13.  Jacobello  del  Fiore,  1436.  Madonna  della  Miseri- 
cordia,  sheltering  votaries  under  her  robe,  a  type  which  will 
recur  frequently  in  Venice  ;  she  wears  the  Child  like  a 
brooch  on  her  bosom.  Notice,  above,  the  little  Annuncia- 
tion in  the  lozenges.  This  is  a  family  picture,  the  votaries 
representing  two  nuns  and  their  relations.  L.  and  R.,  the 
two  St.  Johns,  Baptist  and  Evangelist. 

14.  Maestro  Paolo.  Virgin  and  Child,  with  Pieta  above  ; 
on  the  panels,  St.  James  the  Greater,  with  his  pilgrim's 
staff,  and  St.  Francis  with  the  stigmata. 

End  wall,  by  the  staircase:  *is,  Jacobello  del  Fiore.  A 
large  and  beautiful  decorative  panel  from  the  Magistrates' 
Room  in  the  Doge's  Palace  ;  (Magistrato  del  Proprio.)  In 
the  centre,  Venice,  (or  Justice,)  with  the  sword  and  scales, 
enthroned  between  her  lions  ;  L.,  the  Archangel  Michael, 
with  his  scales  and  the  dragon  ;  R.,  the  Archangel  Gabriel 
with  Annunciation  lily  ;  the  Latin  inscriptions  are  interest- 
ing. The  appropriateness  of  the  picture  to  its  original  place 
is  obvious. 

Left  wall:  16,  Catarino.  Very  rude  Coronation  of  the 
Virgin,  1365.     Compare  all  these  Coronations. 

18.  Simone  da  Casi^he,  1393.  Madonna  della  Miseri- 
cordia,  as  before,  sheltering  under  her  robe  a  group  of 
votaries  belonging  to  a  religious  order,  two  of  them  habited 
as  penitents.  Around  are  quaintly  naive  scenes  from  the 
life  of  St.  Bartholomew  ;  above,  he  preaches,  converts  a 
princess  of  Armenia,  destroys  idols,  baptises  converts ; 
below,  he  is  condemned  by  the  king,  is  scourged,  is  flayed, 
and  beheaded  ;  angels  overhead  bear  his  soul  to  heaven. 

*I9.  Madonna  and  Child,  by  Niccolo  di  Maestro  Pietro. 

20.  Antonio  Vivarini,  one  of  the  leaders  of  the  School  ot 
Murano.     Beautiful  little  decorative  figure  of  St.  Lawrence. 

21.  Unknown  Venetian  of  the  141/1  century.  Altar-piece 
In  the  centre,  Coronation  of  the  Virgin — compare  with  the 
previous  examples ;  on  the  sides,  naive  representations, 
somewhat  Byzantine  in  character,  of  the  life  of  Christ ; 
Nativity,  in  a  cave,  with  Adoration  of  the  Magi,  ox,  ass, 
camels,  etc.;  Baptism  in  Jordan,  with  angels  holding  the 


VI.]  THE   ACADEMY  1 27 

Saviour's  clothes  ;  Last  Supper  ;  Agony  in  the  Garden,  with 
Kiss  of  Judas,  and  Peter  cutting  off  the  ear  of  Malchus  ; 
Way  to  Calvary  ;  Crucifixion  ;  Resurrection,  with  Christ  and 
Magdalen  in  the  garden  ;  Ascension,  Christ  raised  in  a 
mandorla  before  the  Apostles  and  Virgin,  with  angels  be- 
neath. AH  these  scenes  are  good  typical  early  examples  in 
the  treatment  of  their  subjects.  Note  for  comparison.  The 
small  series  above  represents  the  Descent  of  the  Holy 
Ghost,  and  then  the  Life  of  St.  Francis  : — he  receives  Santa 
Chiara  ;  he  strips  himself  of  his  worldly  goods  and  clothing, 
to  enter  the  little  oratory  at  Assisi ;  he  receives  the  stigmata 
from  a  six-winged  red  crucified  seraph  ;  his  death,  with  his 
soul  ascending ;  and  finally,  his  glory  in  heaven.  These 
are  the  conventional  St.  Francis  subjects. 

23.  Nicolo  Semitecolo.     Coronation  of  the  Virgin, 

24.  Michcle  di  Matteo  Lambertini.  Great  altar-piece 
from  the  suppressed  church  of  St.  Elena,  as  before.  In  the 
centre,  Our  Lady  and  Child,  with  angels  ;  very  charming, 
and  showing  already  an  approach  to  the  peculiar  Venetian 
type  of  the  Madonna.  Immediately  to  her  L.,  the  patroness 
St.  Helena,  with  the  True  Cross  ;  next  to  her,  St.  Lucy,  with 
her  eyes  in  a  dish  :  R.,  St.  Mary  Magdalen,  her  vase 
almost  obliterated,  and  St.  Catharine  with  her  wheel ;  above 
are  the  Crucifixion  and  the  four  Evangelists  with  their 
symbols.  In  the  predella,  beneath,  is  the  history  of  the  in- 
vention of  the  True  Cross  ;  St.  Helena  arrives  at  Jerusalem; 
she  enquires  as  to  the  True  Cross,  with  a  debate  of  Jews  as 
to  its  whereabouts  (?) ;  the  invention  of  the  Cross  ;  a  miracle 
performed  by  the  True  Cross  discriminates  it  from  those  of 
the  two  thieves  found  with  it ;  Helena  adores  the  Cross, 
which  puts  to  flight  demons.  I  do  not  quite  understand  all 
these  subjects. 

27.  Bartolojnmeo  Vtvanni,  one  of  the  latest  of  the  Murano 
School.  Virgin  and  Saints,  from  the  Dominican  church  of 
St.  Peter  Martyr  at  Murano.  The  saints  are  all  Dominicans, 
in  robes  of  the  order ;  L.,  in  the  place  of  honour,  St. 
Dominic  ;  then,  St.  Thomas  Aquinas  ;  R.,  St.  Peter  Martyr, 
the  patron  of  the  church,  with  the  knife  of  his  martyrdom 


128  THE   ACADEMY  [vi. 

in  his  head,  and  St,  Vincent  Ferrer,  bearing  his  symbol,  the 
handful  of  flames. 

28.  Andrea  da  Murano,  pupil  of  the  last.  Ruined  altar- 
piece,  a  plague-offering  (see  account  of  the  Four  Great 
Plague-Churches)  from  St.  Peter  Martyr  at  Murano.  In 
the  centre,  St.  Vincent  Ferrer,  and  San  Rocco,  the  latter 
bearing  his  pilgrim's  staff,  showing  the  plague-spot  on  his 
leg,  and  attended  by  his  angel ;  beneath,  one  of  the  donors, 
kneeling.  L.,  the  other  great  plague-saint,  St.  Sebastian  ; 
R.,  St.  Peter  Martyr,  patron  of  the  church,  with  his  knife  as 
before,  each  of  these  with  a  donor.  Above,  Madonna  della 
Misericordia,  with  three  Dominican  saints,  Dominic,  Thomas 
Aquinas,  and  Catharine  of  Siena,  and  a  royal  saint  unknown 
to  me  ;  perhaps  St.  Sigismund. 

29.  Qidrizio  da  Murano,  about  1450.  Charming  little 
Madonna  and  Child,  which  strikes  a  keynote  for  subsequent 
half-length  Venetian  Madonnas.  The  child  is  sleeping,  as 
often  at  Venice ;  the  type  of  Our  Lady  has  the  true  Venetian 
neck  and  features.  The  arrangement  of  the  curtain  and  the 
landscape  background  are  characteristic. 

30.  Quirizio  da  Murano.     Ecce  Homo. 

31  aud  32.  School  of  the  Vivarini,  Two  doctors  of  the 
Church,  St.  Jerome  and  St.  Augustine.  Note  their  symbols. 
(Coarse  workmanship.) 

34  and  35.  School  of  the  Vivarini.  St.  James  the 
Greater,  with  his  pilgrim's  staff,  and  St.  Francis  with  the 
cross  and  stigmata. 

This  room  gives  you  a  good  idea  of  the  general  character 
of  Venetian  painting  before  the  rise  of  the  Bellini, 

Disregarding  the  official  arrangement  of  the  rooms,  so  as 
to  preserve  chronological  order,  return  now  to  the  staircase 
by  which  you  entered,  and  pass  into  the  apartment  to  the 
left  of  the  staircase,  (R.  as  you  now  approach  it.) 

ROOM  XX. 

Hall  of  the  Presentation. 

This  fine  hall  was  originally  the  Albergo,  (guest-chamber 
or  public  reception  room,)  of  the  Fraternity.     It  still  retains 


VI.]  THE   ACADEMY  1 29 

its  magnificent  decorations,  and  the  pictures  it  contains  were 
originally  painted   for   the   very    places   they   now  occupy. 
The   gorgeous  carved  and  gilded  wooden  roof  represents 
Christ  in  Benediction,  surrounded  by  the  four  Apostles  with 
their  symbols. 
Take  a  seat  near  the  staircase,  and  examine,  first, 
**625.    Antonio    Vivarini    da    Murano    and    Giovanni 
Ahunanno^  Our  Lady  and  Child  with  the  Doctors  of  the 
Church  (1445).     This  glorious  work  is  the  finest  surviving 
specimen  of  the  early  Venetian  school.     In  the  centre,  on  a 
raised  dais,  sits  Our  Lady,  enthroned,  with  the  Child  erect 
on  her  knees.     The  placid  though  somewhat  insipid  features 
of  both  show  the  influence  of  the  Cologne  school,  in  which 
it  is  probable  that  Giovanni  (the  German)  received  his  art- 
education.     The   soft  and   pensive   early-German   tinge   in 
Our  Lady's  face  helped  to  form  the  later  Venetian  type  of 
Madonna.     The  closed  garden  in  which  she  is  seated,  as 
well  as  its  beautiful  architectural  framework  and  throne,  also 
recall  the  German  Paradise-pictures.     Four  angels  hold  a 
canopy  over  the  Madonna's  head.     To  the  L.  stand  two  of 
the  Latin  Doctors  of  the  Church ;  St.  Jerome,  in  his  Car- 
dinal's hat  and  robe,  holds  the  church  in  one  hand,  and  his 
translation  of  the  scriptures  (the  Vulgate)  in  the  other  ;  with 
St.  Gregory  the  Pope,  in  gorgeous  canonicals,  at  whose  ear 
the  Holy  Ghost,  as  a  dove,  whispers.     To  the  R.  are  the 
other   two   Doctors,   St.   Ambrose  of  Milan,  grasping  the 
scourge,  symbolical   of  his   act   in   repelling  the   Emperor 
Theodosius  from  the  gates  of  the  church  at  Milan  after  the 
massacre  at  Thessalonica ;  and  St.  Augustine,  bearing  his 
book  De  Civitate  Dei.     Both  these  are  habited  in  their  vest- 
ments as  bishops.     You  cannot  sit  too  long  before  this  noble 
and  beautiful  picture,  supreme  in  its   own  kind  :    examine 
every  part  of  its  decorative  work  carefully.     Alike  in  colour 
and    in   sentiment    it    forms   the   foundation   for  all   later 
Venetian  painting. 

Over  the  entrance  doorway  *(626),  Titian^s  Presentation 
in  the  Temple,  a  picture  painted  for  the  place  it  now  occu- 
pies, and  with  the  stonework  in  its  right-hand  corner  form- 
G.  V.  I 


130  THE  ACADEMY  [vi. 

ing  an  apparent  continuation  of  the  doorway  beneath  it.  It 
was  long  removed  from  this  spot,  and  had  the  two  breaks 
below  filled  up  with  canvas  ;  but  it  has  now,  to  its  great 
advantage,  been  restored  by  the  authorities  to  its  original 
position.  It  treats  its  subject  somewhat  cavalierly,  as  a 
mere  excuse  for  voluptuous  painting,  fine  colour,  and  good 
architectural  perspective.  St.  Joachim,  in  a  yellow  robe, 
with  his  back  turned  to  the  spectator,  near  the  centre  of  the 
picture  (just  behind  the  little  jumping  dog)  lays  his  hand  on 
St.  Anne's  shoulder.  These  are  the  parents  of  the  little 
Virgin,  and  they  have  brought  her  to  the  Temple  to  present 
her  to  the  Lord.  Our  Lady  herself,  contrary  to  their  ex- 
pectations, mounts  the  steps  alone,  and  fearlessly  halts  near 
the  middle.  At  the  top,  the  High  Priest  opens  his  arms  to 
receive  her,  attended  by  other  priests.  Below,  near  the  foot 
of  the  stairs,  spectators,  who  are  mere  sumptuous  portraits 
of  handsome  Venetian  ladies,  observe  her  action  with  praise 
and  admiration.  To  the  L.  stand  senators  and  nobles, 
obviously  portraits,  and  clearly  more  interesting  to  Titian 
than  the  sacred  personages.  The  background  is  an  ex- 
cellent landscape  in  Titian's  own  country  of  Cadore.  The 
"celebrated"  old  woman  with  the  basket  of  eggs  in  the 
centre  foreground  is  undoubtedly  suggested  by  a  similar 
figure  in  a  picture  by  Carpaccio,  which  we  shall  see  here- 
after. This  work  is  of  course  much  later  in  date  than  those 
we  have  hitherto  been  examining,  and  I  merely  mention  it 
here  for  local  convenience.  Its  Renaissance  architecture 
and  its  free  Renaissance  feeling  and  composition  may  be 
instructively  contrasted  with  the  fine  early  decorative  ar- 
rangement of  625.  I  star  it  rather  out  of  deference  to 
universal  opinion  than  from  any  personal  liking  for  its 
tawdry  sentiment. 

Now,  ascend  the  red  marble  staircase  at  the  end  of  the 
room,  and  continue  a  few  steps  along  the  corridor  to  the 
first  door  on  the  R.,  giving  access  to 

Room  XVII. 
Hall  of  Qiovanni  Bellini. 

This  room  contains  much  of  the  finest  work  of  Qiovanni 


VI.]  THE   ACADEMY  I3T 

Bellini,'  the  first  and  noblest  of  the  great  Renaissance 
painters  of  Venice,  as  well  as  examples  of  his  pupils  or 
school.  Bellini  lived  from  1427  till  15 16,  and  was  brother- 
in-law  of  Mantegna.  His  life  just  covers  the  great  develop- 
ing period  of  the  Renaissance. 

583.  Giovanni  Bellini,  half-length  Madonna  and  Child. 
This  picture  is  in  the  earliest  manner  of  the  great  painter, 
still  betraying  some  faint  traces  of  Byzantine  influence, 
(especially  observable  in  Our  Lady's  face,  head-dress,  and 
hands,)  as  well  as  something  derived  from  the  school  of  the 
Vivarini.  As  yet,  Bellini's  art  has  not  succeeded  in  eman- 
cipating itself  from  conventional  trammels.  Compare  this 
picture  carefully  with  the  great  Madonna  (by  Antonio  and 
Giovanni)  in  the  last  room  we  examined,  and  with  the  other 
Bellini  Madonnas  in  this  Hall. 

Beneath  it,  616,  School  of  Vivarini.      Madonna  and  Child. 

Beyond  the  door,  L.  581.  Ruined  altar-piece  by  Bar- 
tolommeo  Vivarini.  In  the  centre,  a  very  wooden  Nativity, 
with  the  usual  features, — shed,  star,  wattled  manger,  ox  and 
ass,  etc.  ;  in  the  background  an  ill-drawn  Annunciation  to 
the  Shepherds  ;  on  the  sides,  L.  and  R.,  Peter  and  Paul, 
(keys  and  sword ;)  further  L.,  St.  John  Baptist,  St,  Andrew, 
St.  Francis  with  the  stigmata ;  further  R.,  St.  Jerome,  St. 
Dominic,  and  probably  St.  Theodore. 

584.  Bartolotnmeo  Vivarini.     St.  Mary  Magdalen. 

582.  Jacopo  Belli)ii,ia.\h&r  of  Giovanni  and  Gentile.  Half- 
length  Madonna  and  Child.  Compare  this  rather  wooden 
specimen  of  Jacopo,  (who  was  a  pupil  of  the  Umbrian  Gen- 
tile da  Fabriano,)  with  the  more  distinctly  Venetian  treat- 
ment of  the  same  subject  we  have  just  seen  in  583,  noticing 
how  far  Giovanni  has  been  influenced  in  his  conception  of 
Our  Lady  by  the  mosaics  of  StTMark's. 

585.  Companion  to"  584.  Bartolommeo  Vivarini.  St. 
Barbara  with  her  tower. 

•  The  Bellinis  have  just  been  removed  to  Room  XVIII.,  which  con- 
tains 583,  582,  591,  594,  595,  596,  610,  613  ;  also  a  worlc  by  Christus, 
numbered  in  front  117,  and  behind  144,  and  marked  "Johannus 
Bellini." 


132  THE   ACADEMY  [vi. 

(Room  to  the  L.,  closed,  contains  some  very  ugly  rococo 
furniture.) 

Beyond  the  door  (no  number)  *Coszmo  Tura  of  Ferrara. 
Madonna  and  Child  ;  a  characteristic  specimen  of  this  harsh 
but  powerful  Ferrarese-Bolognese  master. 

**588.  Mantegna.  St.  George  and  the  Dragon,  with  one 
of  his  characteristic  garlands  of  fruit  and  foliage.  This  may 
be  reckoned  among  the  gems  of  the  collection.  Examine 
it  closely  for  its  splendid  workmanship  and  the  delicate 
treatment  of  its  accessories.  It  is  so  admirably  and  minutely 
touched  that  if  you  sit  opposite  it  and  look  at  it  through  an 
opera-glass  which  enlarges  considerably,  it  gains  rather  than 
loses  by  magnifying.     A  masterpiece  of  its  master. 

Next  to  this,  590.  Antonello  da  Messina.  Madonna,  from 
an  Annunciation. 

■*586.  Attributed  to  Antonello  da  Messina.  Portrait  of 
a  young  man  ;  rich  brown-tinted  complexion.  This  is  more 
probably  a  Flemish  work,  and  may  perhaps  be  by  Memling. 

591.  Giovamii  Bellini.  Full-length  Madonna,  with  sleep- 
ing Child  on  her  knees.  This  should  be  compared  with 
the  Madonna  by  his  father,  582,  and  with  his  own  early 
work,  583.  The  graceful  drawing  of  the  Child  here  marks 
a  great  advance  in  art. 

The  place  of  honour  in  the  centre  of  this  wall  is  occupied 
by  *592,  Cima  da  Conegliano,  Tobias  and  the  Angel.  Altar- 
piece  from  the  suppressed  church  of  the  Misericordia,  much 
injured  and  restored,  but  still  very  beautiful.  Cima  was 
one  of  the  greatest  of  Giovanni  Bellini's  pupils,  and  this 
may  rank  even  now  among  his  noblest  works.  In  the 
centre,  the  Archangel  Raphael  leads  the  youthful  Tobias, 
who  holds  in  his  hand  the  fish  which  was  to  cure  his  father's 
blindness.  Both  figures  are  extremely  graceful.  To  the 
L.  is  St.  James  the  Apostle,  with  his  pilgrim's  staff ;  to  the 
R.,  St.  Nicholas  of  Myra,  holding  the  three  golden  balls 
which  are  his  symbol.  Observe  in  this  picture  how  the 
attendant  saints,  who  in  earlier  times  stood  apart  under  a 
separate  canopy  of  the  altar-piece,  or,  if  thrown  into  one 
panel,  were  treated  as  single  figures  in  isolation,  now  begin 


VI.]  THE   ACADEMY  133 

to  form  a  concerted  group,  though  they  do  not  yet  take  any 
part  in  a  combined  action,  as  is  the  case  in  the  later  treat- 
ment known  as  the  Santa  Conversazione.  (Watch  this 
development  hereafter.)  Here,  the  saints,  though  standing 
in  the  same  beautiful  landscape  background  with  the  central 
figures,  are  still  purely  abstract  personages,  assessors,  as 
it  were,  of  the  main  scene.  The  superior  position  of  the 
Archangel  and  Tobias  is  quaintly  shown  by  elevating  them 
on  a  little  mound  or  hillock.  But  observe  at  the  same  time 
how  landscape  is  now  beginning  to  assert  itself.  Though 
damaged,  this  picture  is  still  fine.  Good  colour  throughout : 
excellent  draperies. 

593.  Alvise  Vivarini.  St.  Clara  ;  more  probably  a  por- 
trait of  a  nun  in  the  character  of  the  saint,  her  patron. 

594.  Giovanni  Bellini.  Half-length  Madonna  and  Child, 
the  latter  standing  (as  often)  on  a  parapet ;  landscape  back- 
ground. Probably  an  early  work.  Compare  this  with  the 
other  examples. 

**S95.  Five  little  allegories  by  Giovanni  Bellini',  prob- 
ably panels  from  a  decorative  chest.  These  dainty  and 
charming  cameos  should  be  closely  examined  for  their  ex- 
quisite almost  classical  painting.  They  are  masterpieces 
in  little.  No  satisfactory  explanation  of  their  subjects  has 
yet  been  offered. 

**S96.  Giovanni  Bellini.  Half-length  Madonna  and  Child, 
known  as  the  Madonna  of  the  Two  Trees,  one  of  the  most 
beautiful  which  he  ever  painted.  Compare  it  with  594  and 
the  other  examples.  This  may  be  numbered  among  the 
loveliest  things  in  the  collection.  The  strong  columnar 
neck  and  dignified  matronly  character  of  Our  Lady  in  this 
characteristic  Venetian  work  should  be  closely  observed, 
and  mentally  contrasted  with  the  girlish  ideal  Florentine 
type,  as  well  as  with  the  intellectual  character  of  the  Lom- 
bard Madonnas.  The  Child  in  this  picture  is  extremely 
charming  and  sweetly  infantile. 

597.  Cinia  da  Conegliano.  Madonna  and  Child,  with 
characteristic  landscape  background  of  Cima's  own  country. 
He  loved  scenery,  and  is  one  of  the  founders  of  landscape 


134  THE   ACADEMY  [vi. 

art.  Note,  as  time  advances,  the  freer  and  more  uncon- 
ventional attitudes  given  to  the  Child,  and  the  removal  of 
his  clothing,  seen  in  several  pictures  of  the  BeUini  age  in 
this  Gallery.     (Perhaps  a  copy.) 

598.  Boccaccio  Boccaccino,  a  Cremona  painter  (1495  to 
1518.)  Jesus  among  the  Doctors  ;  the  Christ  with  youthful 
features  and  wavy  hair ;  the  Doctors  evidently  intended  to 
represent  respectively  a  Pharisee  and  a  Sadducee. 

End  wall :  599.  School  of  the  same.  Christ  washing 
Peter's  feet,  a  good  transitional  picture. 

*6oo.  Boccaccio  Boccaccino.  Madonna  and  Saints  ;  his 
masterpiece.  A  little  to  the  L.,  Our  Lady  holds  the  Child 
on  her  lap  ;  further  L.,  St.  Catharine,  (a  most  graceful  figure, 
beautifully  robed,)  holds  out  her  hand  to  receive  the  mystic 
ring  from  the  hands  of  the  infant  Christ  whose  bride  she  is. 
On  the  R.,  St.  Rose,  holding  the  palm  of  her  martyrdom. 
These  two  female  figures  are  exquisitely  and  touchingly 
rendered.  To  the  extreme  R.,  St.  Peter  with  his  keys,  and 
St.  John  Baptist  with  his  cross  of  reeds.  The  background 
is  formed  by  a  charming  mountain  landscape,  with  a  lake 
and  city.  Observe  in  this  delicious  idyllic  work  how  the 
assemblage  of  saints  attendant  on  the  Madonna  has  ceased 
to  be  symmetrical,  and  lost  all  memory  of  the  early  arrange- 
ment in  rows  ;  the  figures  are  here  thrown  into  that  sort 
of  concerted  composition  which  is  known  as  a  "Santa 
Conversazione."  Compare  with  592,  Cima's  Raphael  and 
Tobias,  and  earlier  examples.  Linger  long  on  this  tender 
picture. 

Over  the  door  :  601.  Paolo  Zoppo.  St.  James,  with  his 
staff  as  pilgrim. 

603.  Cima  da  Conegliano.  Half-length  Madonna  and 
Child,  with  St.  John  and  St.  Paul  ;  the  latter  may  always 
be  known  by  his  bald  head,  pointed  beard,  and  sword.  Be- 
hind the  Madonna,  a  curtain,  on  either  side  of  which  peeps 
out  a  landscape.  This  type  of  half-length  Madonna,  with 
curtain,  parapet,  and  open  background,  is  highly  character- 
istic of  the  Venetian  school  of  the  Bellini  period.  Our  Lady's 
features  are  redolent  of  the  Venetian  ideal  :  they  may  be 


VI.]  THE   ACADEMY  I35 

traced  afterwards  in  Titian  and  his  followers.  This  is  an 
admirable  picture,  beautifully  rendered. 

R.  wall :  605.  Boccaccio  Boccaccino.  Madonna,  between 
St.  Simeon  and  St.  Jerome.     Beneath  it, 

604.  Cima.  Deposition  from  the  Cross.  The  dead 
Saviour  is  supported  by  Joseph  of  Arimathea  ;  on  the  other 
side  are  Our  Lady  as  the  Mater  Dolorosa,  and  St.  John  ; 
at  the  ends,  another  Mary  and  Mary  Magdalen. 

606  and  608.  Antonio  Vivarini.  A  fine  early  Annun- 
ciation in  two  panels,  badly  repainted.  As  usual,  the  angel 
L.  and  Our  Lady  R.  The  action  almost  always  takes  place 
in  a  loggia.  Our  Lady's  face  is  already  characteristically 
Venetian. 

607.  Alvise  Vivarini^  the  last  of  his  school.  Our  Lady 
enthroned,  with  Franciscan  saints  ;  altar-piece  painted  for 
the  Franciscan  church  of  San  Francesco  at  Treviso.  In 
the  centre,  Our  Lady  sits  enthroned  on  a  lofty  pedestal  j  her 
features  are  somewhat  insipid.  In  the  foreground  stand  the 
four  great  Franciscan  saints,  from  L.  to  R.,  as  follows  : — 
St.  Louis  of  Toulouse,  St.  Antony  of  Padua,  St.  Francis, 
St.  Bernardino  of  Siena.  The  pinched,  ascetic  features  of 
the  last-named  are  characteristic  of  his  conventional  type. 
Behind  these  four  Franciscans,  stand  the  parents  of  Our 
Lady,  St.  Joachim,  holding  the  dove  of  his  offering,  and  St. 
Anna.  The  arches  at  the  back  and  the  long  line  of  the 
saints  convey  faint  reminiscences  of  the  earlier  formal  ar- 
rangement in  niches.  This  is  considered  Alvise's  master- 
piece ;  it  well  illustrates  the  harm  done  to  such  pictures 
by  seeing  them  in  a  gallery,  divorced  from  their  primitive 
ecclesiastical  surroundings,  in  which  they  were  full  of  sym- 
bolical meaning.  On  the  whole,  the  keynote  here  is  as- 
ceticism. 

**6iO.  Giovanni  Bellini.  Altar-piece,  with  Our  Lady  and 
two  saints.  This  is  one  of  Bellini's  finest  pictures  ;  it  is 
a  typical  Venetian  half-length  Madonna,  with  curtain  and 
parapet.  Our  Lady's  face  may  be  reckoned  among  the 
loveliest  that  Bellini  ever  painted  ;  the  Child  is  charming 
in  his  infantine  grace.     To  the  L.  stands  St.  Paul  with  his 


136  THE   ACADEMY  [vi. 

sword,  its  hilt  and  scabbard  exquisitely  enamelled  :  to  the 
R.,  St.  George,  in  a  splendid  helmet  and  glancing  annour, 
grasping  his  lance  or  pennant  with  the  red  cross.  These 
two  faces  are  obviously  portraits,  probably  of  the  donors, 
represented  under  the  guise  of  their  patron  saints,  for  which 
the  features  of  St.  Paul,  a  characteristic  Venetian  senator 
of  his  period,  are  excellently  adapted.  St.  George  is  less 
happy  ;  he  looks  more  like  a  staid  lawyer  or  statesman, 
than  the  romantic  and  adventurous  knight  of  the  legend. 
Admirably  drawn,  patiently  wrought,  gloriously  coloured. 

*6ii.  Cima.  The  Incredulity  of  St.  Thomas.  An  altar- 
piece  painted  for  the  Scuola  of  the  Masons  in  Venice,  St. 
Thomas  be  ng  the  recognised  patron  of  the  building  trades. 
The  action  takes  place  in  an  arcade,  from  which  is  seen 
a  distant  view  of  Cima's  favourite  mountains.  To  the  R. 
stands  a  sainted  episcopal  figure,  usually  explained  as  St. 
Magnus,  the  holy  bishop  of  Altinum,  but  more  probably  St. 
Nicholas,  the  patron  saint  of  merchants  and  the  middle 
classes.  (Compare  the  figure  with  the  undoubted  St. 
Nicholas  holding  the  three  balls,  in  the  opposite  altar- 
piece  by  the  same  artist.)  Fine  bold  outlines  ;  vivid  and 
pure  colour  ;  great  and  grave  religious  sincerity.  This  is 
considered  to  be  Cima's  masterpiece.  A  picture  by  him 
very  like  it,  but  without  the  St.  Nicholas,  is  in  the  National 
Gallery  in  London. 

612.  Giovanni  Bellini.  Madonna  with  the  red  cherubs, 
a  characteristic  and  silvery  early  specimen.     Beneath  it, 

613.  Giovanni  Bellini.  Half-length  Madonna  and  saints. 
To  the  L.,  St.  Catharine  ;  to  the  R.,  St.  Mary  Magdalen. 
The  figures  are  lighted  from  below,  being  intended  for  a 
lofty  altar-piece. 

614.  Bartolomnieo  Vivarini.  A  didactic  picture  for  the 
Magistrato  di  Cattaver.  In  the  centre,  Christ  enthroned, 
bearing  a  book  inscribed  with  the  command  to  do  justice 
and  judge  truly  the  sons  of  men  ;  to  the  L.,  St.  Augustine ; 
to  the  R.,  St.  Francis,  probably  in  compliment  to  the  magis- 
trates of  the  moment,  whose  namesakes  these  may  most 
probably  have   been.     In   the   background   a    Renaissance 


VI.]  THE   ACADEMY  137 

loggia,  with  festooned  garlands,  and  the  arms  of  the  two 
donors.  Saints  and  escutcheons  combined  would  tell  the 
names  of  the  benefactors  at  once  to  a  contemporary 
Venetian. 

615.  Bartolomnieo  Vivarini.  An  early  Madonna  and 
saints,  in  the  old  "  tabernacle "  altar-piece  style,  from  the 
suppressed  church  of  Sant'  Andrea  della  Certosa,  (the  Car- 
thusian monastery.)  In  the  centre  is  a  lovely  enthroned 
Madonna  with  a  sleeping  Child — compare  with  the  Cosimo 
Tura  and  the  Bellini.  To  the  L.,  St.  Andrew,  the  patron  of 
the  church,  and  St.  John  the  Baptist :  to  the  R.,  St.  Dominic 
and  St.  Peter.  I  think  these  figures  have  been  misplaced 
in  reframing,  and  that  Peter  and  Andrew  ought  to  occupy 
the  next  niches  to  Our  Lady.     Much  repainted. 

Now,  return  to  the  far  end  of  this  room,  and  enter  the 
little  compartment  beyond  it. 

Room  XVIII. 
Hall  of  the  Vivarini. 

617.  Unknown  Paduatt,  with  characteristic  Paduan  archi- 
tectural detail,  showing  the  classical  influence  of  the  school 
of  Squarcione.  In  the  centre,  full-length  Madonna,  en- 
throned, with  clothed  Infant,  surrounded  by  little  angels 
singing  and  playing  musical  instruments  in  the  manner 
common  at  Venice  and  Padua.  (Note  henceforth  these 
pretty  accessories.)  To  the  L.,  St.  Lawrence  with  his  grid- 
iron, St.  Jerome  with  his  church  and  Hon  :  to  the  R.,  St. 
George  (?)  or  Liberale  (?),  and  St.  Stephen  with  the  stones 
of  his  martyrdom.  A  good,  hard,  characteristic  Paduan 
picture. 

618  and  619.  Alvise  Vivarini.  St.  John  the  Baptist  and 
St.  Matthew. 

The  end  wall  is  occupied  by  several  fragments  of  altar- 
pieces,  (621,)  with  formal  figures,  of  the  school  of  the 
Vivarini,  not  very  interesting.  The  order,  from  L.  to  R.,  is  : 
St.  Francis  with  the  stigmata.  Our  Lady  and  Child,  St. 
George  (?),  St.  Jerome  with  the  church,  a  Nativity,  (with  the 


138  THE   ACADEMY  [vi. 

Annunciation  to  the  shepherds,)  an  unknown  bishop — 
possibly  St,  Ambrose,  St.  John  the  Baptist,  St.  Sebastian, 
St.  Antony  the  Abbot,  with  his  bell  and  crutch,  St.  Law- 
rence, standing  on  his  gridiron,  and  St.  Antony  of  Padua, 
in  Franciscan  robes,  with  the  lily. 

623.  Cima.  St.  Christopher  wading  through  the  river 
with  the  infant  Christ.  Notice  how  he  staggers  beneath  the 
supernatural  weight  of  the  divine  burden. 

624.  Alvise  Vivarini.  Madonna,  at  a  prie-dieu ;  one 
panel  of  an  Annunciation,  the  other  half  of  which  is  missing. 

Return  through  Room  XVII.,  descend  the  stairs,  cross 
the  corridor,  and  ascend  the  steps  of  the  compartment 
opposite. 

Room  XVI. 
Hall  of  St.  Ursula. 

This  room  (part  of  the  old  church  of  the  Carita)  contains 
a  series  of  paintings  from  the  life  of  St.  Ursula,  all  by 
Vittore  Carpaccio,  probably  a  pupil  of  the  Bellini,  who 
painted  between  1490  and  1522.  Carpaccio  is  the  best  re- 
presentative of  the  sportive  and  decorative  character  of  the 
Venetian  school  at  the  beginning  of  the  16th  century,  and 
the  graceful  works  collected  here  are  his  masterpieces.  He 
is  supreme  as  a  story-teller.  Before  examining  these  ex- 
amples of  his  art  in  detail,  sit  down  on  one  of  the  little  red 
stools  and  read  the  following  short  account  of  their  subject. 

[St.  Ursula  was  a  British  (or  Bretonne)  princess,  brought 
up  as  a  Christian  by  her  pious  parents.  She  was  sought  in 
marriage  by  a  pagan  prince,  Conon,  said  in  the  legend  to  be 
the  son  of  a  king  of  England.  The  English  king,  called 
Agrippinus,  sent  ambassadors  to  Maurus,  king  of  Britain  (or 
Brittany)  asking  the  hand  of  his  daughter  Ursula  for  his 
heir.  But  Ursula  made  three  conditions  :  first,  that  she 
should  be  given  as  companions  ten  noble  virgins,  and  that 
she  herself  and  each  of  the  virgins  should  be  accompanied 
by  a  thousand  maiden  attendants  ;  second,  that  they  should 
all  together  visit  the  shrines  of  the  saints  ;  and  third,  that 
the  prince   Conon   and   his   court  should  receive  baptism. 


VI.]  THE   ACADEMY  139 

These  conditions  were  complied  with  ;  the  king  of  England 
collected  11,000  virgins  ;  and  Ursula,  with  her  companions, 
sailed  for  Cologne,  where  she  arrived  miraculously  without 
the  assistance  of  sailors.  Here,  she  had  a  vision  of  an 
angel  bidding  her  to  repair  to  Rome,  the  threshold  of  the 
apostles.  From  Cologne,  the  pilgrims  proceeded  up  the 
Rhine  by  boat,  till  they  arrived  at  Basle,  where  they  dis- 
embarked and  continued  their  journey  on  foot  over  the  Alps 
to  Italy.  At  length  they  reached  the  Tiber,  and  approached 
the  walls  of  Rome.  There,  the  Pope,  St.  Cyriacus,  (or 
Cyprianus,)  went  forth  with  all  his  clergy  in  procession  to 
meet  them.  He  gave  them  his  blessing ;  and  lest  the 
maidens  should  come  to  harm  in  so  wicked  a  city,  he  had 
tents  pitched  for  them  outside  the  walls  on  the  side  towards 
Tivoh.  Meanwhile,  prince  Conon  had  also  come  on  pil- 
grimage by  a  different  route,  and  arrived  at  Rome  on  the 
same  day  as  his  betrothed.  He  knelt  with  Ursula  at  the 
feet  of  the  Pope,  and,  being  baptized,  received  in  exchange 
the  name  of  Ethereus. 

After  a  certain  time  spent  in  Rome,  the  holy  maidens 
bethought  them  to  return  home  again.  Thereupon,  Pope 
Cyriacus  decided  to  accompany  them,  together  with  his 
cardinals,  archbishops,  bishops,  patriarchs,  and  many  others 
of  his  prelates.  They  crossed  the  Alps,  embarked  again  at 
Basle,  and  made  their  way  northward  as  far  as  Cologne. 
Now  it  happened  that  the  army  of  the  Huns  was  at  that 
time  besieging  the  Roman  colony  ;  and  the  pagans  fell  upon 
the  11,000  virgins,  with  the  Pope  and  their  other  saintly 
companions.  Prince  Ethereus  was  one  of  the  first  to  die  ; 
then  Cyriacus,  the  bishops,  and  the  cardinals  perished. 
Last  of  all,  the  pagans  turned  upon  the  virgins,  all  of  whom 
they  slew,  save  only  St.  Ursula.  Her  they  carried  before 
their  king,  who,  beholding  her  beauty,  would  fain  have 
wedded  her.  But  Ursula  sternly  refused  the  offer  of  this 
son  of  Satan  ;  whereupon  the  king,  seizing  his  bow,  trans- 
fixed her  breast  with  three  arrows.  Hence  her  symbol  in 
art  is  an  arrow. 

St.  Ursula  is  the  patroness  of  maidens,  and  especially  of 


I40  THE   ACADEMY  [vi. 

school  girls.  There  existed  at  Venice  a  benevolent  institu- 
tion, under  her  patronage,  for  the  support  and  education  of 
orphan  girls,  the  Scuola  di  5ant'  Ursula,  (near  San 
Giovanni  e  Paolo.)  For  this  Scuola,  Carpaccio  painted  the 
present  series  of  scenes  from  the  life  of  the  patron  saint, 
between  1490  and  1495.  They  are  now  well  reunited  in  a 
room  somewhat  resembling  their  original  abode.  After 
seeing  them,  it  is  well  to  visit  San  Giorgio  degli  Schiavoni, 
where  you  will  find  a  similar  series,  also  by  Carpaccio,  from 
the  lives  of  St.  George  and  St.  Tryphonius,  still  arranged  in 
their  first  setting.  These  pictures,  with  those  at  San  Rocco, 
will  help  you  to  piece  out  your  idea  of  the  splendid  character 
of  the  old  Venetian  Scuole  or  charitable  guilds.  The  visitor 
who  has  seen  Bruges  will  also  compare  them  mentally  (or 
siill  better  by  means  of  photographs)  with  the  Memlings  of 
St.  John's  Hospital.] 

This  room  and  the  two  which  follow  it  have  been  built  in 
the  upper  floor  of  the  suppressed  church  of  the  Caritk.  The 
St.  Ursula  series  begins  to  the  L.  of  the  door  as  you  enter  ; 
unfortunately,  not  all  the  pictures  have  been  placed,  it  seems 
to  me,  in  their  proper  chronological  order  in  the  story. 

572.  The  ambassadors  of  the  pagan  English  king  arrive 
at  the  court  of  the  Christian  king  Maurus  to  ask  for  the 
hand  of  Ursula.  To  the  extreme  L.  is  the  loggia  or  porch 
of  the  palace,  with  gentlemen  in  waiting ;  below,  a  senator 
in  a  red  robe  ;  in  the  background,  a  port  like  that  of  Venice. 
In  the  central  portion  of  the  picture,  the  chief  ambassador, 
kneeling,  presents  his  letter  to  King  Maurus  in  council ; 
behind  him,  the  other  ambassadors  make  their  obeisance  ; 
in  the  background,  a  galley,  and  Venetian  architecture  of 
the  early  Renaissance.  To  the  extreme  R.  is  a  subsequent 
episode  :  King  Maurus  conveys  the  message  to  his  daughter, 
who  is  counting  on  her  fingers  the  three  conditions  under 
which  alone  she  will  consent  to  accept  the  suit  of  Conon. 
Notice  her  neat  little  bed,  and  the  picture  of  the  Madonna 
on  the  wall.  This  daintily  simple  room  has  one  side  taken 
out,  as  at  a  theatre.  The  duenna  below  with  the  crutch 
obviously  gave  the  hint  for  the  old  woman  with  the  basket 


VI.]  THE   ACADEMY  I4I 

of  eggs  in  Titian's  Presentation  in  the  Temple.  Observe 
the  classical  touch  in  the  medallion  of  a  Caesar  on  the  pillar 
in  front  of  her. 

573.  The  Ambassadors  of  the  pagan  English  king  leave 
the  court  of  the  Christian  monarch.  A  preternaturally  busy 
secretary  writes  the  answer  with  the  conditions  to  Conon, 
Observe  the  characteristic  Venetian  decorations  of  coloured 
marble,  the  niche  over  the  door,  and  the  architecture  in  the 
background. 

574  The  Ambassadors  render  their  report  to  the  pagan 
king  in  his  own  city,  the  architecture  of  which,  though  still 
essentially  Venetian,  is  meant  to  contrast  as  barbaric  and 
antiquated  with  that  of  the  Christian  king's  civilised  capital. 
To  the  extreme  R.,  king  Agrippinus,  seated,  and  looking 
fiercely  pagan,  receives  the  Ambassadors'  report  in  a  little 
octagonal  summer-house  with  exquisite  columns  of  coloured 
marble.  Note  the  wall  behind,  and  the  gardens.  Outside 
stands  a  very  Venetian  crowd,  with  a  balustraded  bridge 
like  those  on  the  Riva.  The  central  part  of  the  picture  is 
occupied  by  Prince  Conon  and  his  knightly  attendants  ;  the 
Prince  stands  in  the  exact  middle  with  his  hand  on  his 
heart.     All  the  architectural  details  are  worth  close  notice. 

575.  The  Departure  of  the  two  Lovers.  On  the  L., 
Conon,  with  fair  hair  and  a  long  red  robe,  takes  leave  of  his 
parents  ;  in  the  background  is  the  fantastic  architecture  of 
the  pagan  city,  the  turreted  portion  to  the  extreme  L.  being 
intended  to  produce  a  specially  barbaric  effect.  The  hill- 
town  in  the  L.  background  resembles  the  neighbourhoods  of 
Vicenza  and  Brescia.  To  the  extreme  R.,  St.  Ursula  takes 
leave  of  her  parents,  this  Christian  leave-taking  being  care- 
fully contrasted  with  the  pagan  one  of  Conon.  The  robes 
of  Ursula,  her  father,  and  her  weeping  mother,  are  all  beau- 
tiful. In  the  background,  the  stately  Christian  city,  an 
ideal  early-Renaissance  Venice.  A  little  to  the  L.  of  this 
group,  near  the  flagstaff,  is  a  somewhat  later  episode : 
Conon  and  his  bride,  this  time  somewhat  differently  dressed, 
meet  for  embarcation.  (Perhaps,  however,  this  scene  re- 
presents Conon  landing  in  Brittany,  and  received  by  Ursula; 


142  THE  ACADEMY  [VI. 

while  to  the  R.  they  may  both  be  taking  leave  of  Maurus.) 
The  shipping,  and  the  other  accessories,  such  as  the  pontoon 
and  the  magnificent  carpets,  deserve  close  inspection. 

Omit  for  the  moment  576  in  the  centre. 

*577.  Ursula  and  Conon  arrive  together  on  the  same  day 
at  Rome,  where  they  are  met  in  solemn  procession  by  the 
Pope,  accompanied  by  a  magnificent  retinue  of  ecclesiastics. 
All  the  robes  here  are  exquisitely  rendered.  In  the  distance 
to  the  L.,  the  train  of  11,000  virgins  winds  slowly,  in  single 
file,  (as  in  the  Memlings  at  Bruges,)  absorbed  in  meditation, 
across  the  Campagna,  with  the  Alps  in  the  distance.  Near 
them  are  eleven  standards  for  the  11,000,  and  one  with  a 
red  cross  for  St.  Ursula.  Many  of  the  principal  maidens 
wear  coronets.  In  the  background  rises  the  castle  of  St. 
Angelo.  Do  not  overlook  the  portable  baldacchino  and  all 
the  other  ecclesiastical  accessories  in  this  fine  and  fantastic 
ceremonial  picture. 

**578  (which  ought  to  have  come  much  earlier  in  the 
arrangement,  at  least  if  the  legend  was  faithfully  followed.) 
St.  Ursula's  Dream,  a  very  lovely  picture.  The  saint  lies 
peacefully  sleeping  in  a  neat  httle  bed  under  a  simple 
canopy  ;  to  the  extreme  R.,  the  angel  enters.  Every  detail 
here  is  delicious,  from  the  flower-pots  and  flowers  in  the 
window,  to  the  clogs  which  the  tidy  little  saint  has  put  off 
by  her  bedside,  and  the  dainty  crown  which  she  has  care- 
fully laid  on  the  parapet  at  the  foot  of  the  bed.  A  virgin 
martyr,  but  an  ideal  housewife. 

579.  Arrival  of  St.  Ursula  at  Cologne.  On  the  L.,  the 
maiden  saint  is  seen  in  a  portentous  galley,  very  difficult  to 
navigate,  accompanied  by  the  Pope  and  all  his  ecclesiastics. 
Behind,  in  another  galley,  some  assorted  specimens  of  the 
1 1,000.  A  messenger  in  a  boat  seems  to  inform  the  pilgrims 
(quite  needlessly)  of  the  state  of  the  city.  To  the  R.  is 
the  besieging  army  of  the  Huns,  most  of  them  in  frankly 
anachronistic  late  15th  century  armour.  In  the  background, 
the  King  of  the  Huns,  himself,  mounted,  directs  the  siege. 
Beyond  him  stretch  the  tents  of  his  followers,  and  then  the 
turreted  walls  of  Cologne,  manned  by  the  defenders.      It 


VI.]  THE   ACADEMY  1 43 

must  however  be  admitted  that  this  is  all  very  make-believe 
warfare.     Nobody  seems  to  take  it  seriously. 

580.  The  Martyrdom  of  St.  Ursula  and  the  1 1,000  virgins. 
In  the  centre,  the  King  of  the  Huns,  a  most  courtly  and 
knightly  gentleman  for  a  pagan  savage,  bends  his  bow  and 
directs  an  arrow  straight  at  the  heart  of  the  kneeling  St. 
Ursula.  Behind  her  are  Conon  (?)  and  one  of  the  virgins. 
A  little  in  the  background,  the  good  Pope  receives  an  arrow- 
wound  and  a  sword-thrust,  and  his  tiara  falls  from  his  dying 
head.  To  the  extreme  L.  takes  place  an  indiscriminate 
massacre,  in  which  violent  action  (a  weak  point  with  Car- 
paccio)  is  only  tolerably  represented ;  one  Cardinal  in 
particular,  with  an  arrow  in  his  face,  is  frankly  comic.  The 
upper  part  of  the  picture  is  formed  by  hard  trees  and  a 
landscape  background.  The  courtiers  of  the  King  of  the 
Huns  are  chiefly  remarkable  for  the  barbaric  variety  and 
eccentricity  of  their  weapons,  in  designing  which  Carpaccio's 
fancy  runs  riot.  To  the  extreme  R.  is  the  Burial  of  the 
Saint,  who  is  borne  on  a  bier  by  ecclesiastics  into  a  church, 
attended  by  sympathisers  who  seem  to  be  portraits  of 
Venetian  gentlemen.  The  kneeling  figure  at  the  base  is 
doubtless  one  of  the  donors.  This  is  the  poorest  and  least 
worthy  work  of  the  whole  series,  Carpaccio  here  attempts 
a  task  beyond  his  powers. 

Now,  return  to  576,  opposite,  which  is  really  the  last  of 
the  series.  It  represents  the  Glorification  or  Apotheosis  of 
St.  Ursula.  In  the  centre  stands  the  triumphant  saint, 
elevated  on  a  clustered  column  of  palm-branches,  symbolical 
of  martyrdom,  and  ringed  by  red  cherubs  ;  behind  her  is  a 
glory ;  around  her,  a  mandorla-shaped  group  of  little  winged 
angels ;  above,  the  Eternal  Father,  much  foreshortened, 
stretches  His  welcoming  arms  to  receive  her  into  bliss  im- 
mortal. Below  are  the  companions  of  her  martyrdom  and 
her  glory,  the  1 1,000  virgins,  two  of  them  holding  banners, 
together  with  the  sainted  Pope  and  the  ecclesiastics  who 
accompanied  him.  I  fail,  unfortunately,  to  discriminate 
Conon.  The  three  portrait-like  faces  on  the  L.  I  take  to  be 
those  of  the  donors. 


144  ^^-^   ACADEMY  (VI. 

Room  XV. 
Hall  of  the  Holy  Cross. 

[The  Scuola  di  San  Giovanni  Evangelista  at  Venice, 
(a  local  religious  guild,  a  little  behind  the  Frari,)  possessed 
as  its  chief  treasure  a  fragment  of  the  True  Cross.  This 
most  precious  object  was  carried  in  procession  through  the 
streets  on  certain  fesfa  days,  and  became  the  centre  of  an 
important  cult  in  early  Renaissance  Venice.  About  1490, 
the  Fraternity  commissioned  Genh'le  Be/h'm  and  his  pupils 
to  execute  for  their  Hall  a  series  of  pictures  on  canvas,  to 
be  hung  on  the  walls  like  tapestry.  They  were  to  represent 
the  miracles  wrought  by  this  sacred  relic,  as  well  as  certain 
other  episodes  in  its  local  history.  The  conditions  under 
which  the  pictures  were  painted  thus  explain  many  peculi- 
arities in  their  mode  of  treatment  ;  they  were  meant  to  be 
seen,  as  they  now  are,  round  the  walls  of  a  room  by  them- 
selves, and  were  intended  rather  as  decorative  backgrounds 
than  as  pictures  in  the  ordinary  sense.  Formerly,  the 
various  members  of  the  series  were  distributed  through  this 
Gallery  in  different  rooms,  surrounded  by  other  works  with 
♦figures  of  larger  size,  which  made  them  look  a  trifle  grotesque 
and  finnicking.  Their  wise  reunion  in  this  octagon,  built 
specially  to  accommodate  them,  with  excellent  taste,  enables 
the  spectator  to  judge  their  original  effect  much  more  truly. 

Carefully  distinguish  Qentile  Bellini,  the  painter  of 
historical  scenes,  from  his  brother  Giovanni,  the  devotional 
painter  of  saints  and  Madonnas,  whose  work  we  have  before 
examined.  Gentile  loved  such  small  figures  on  rather 
crowded  canvases.  He  struck  the  keynote  of  the  Hall ;  his 
pupils  followed  him.  All  these  pictures  should  be  carefully 
studied,  because,  apart  from  their  intrinsic  value  as  works 
of  art,  and  as  specimens  of  the  best  Venetian  technique 
before  the  age  of  Titian,  they  preserve  for  us  so  many 
features  of  old  Venice  which  have  now  disappeared,  and 
also  give  us  such  charming  glimpses  of  the  domestic  and 
public  life  of  the  15th  century.  In  particular,  one  of  them 
is   our  best  authority   for  the   appearance   of    St.    Mark's 


VI.]  THE   ACADEMY  145 

before  its  mosaics  were  altered.     They  are  thus  more  than 
pictures  ;  they  are  historical  documents.] 


Begin  near  the  far  end  of  the  room. 

561.  Lazzaro  Sebastiani  (or  Bastiani.)  Filippo  Mazeri 
(or  Massari),  a  crusader  returning  from  the  Holy  Land,  in 
1370,  offers  to  the  Scuola  di  San  Giovanni  a  relic  of  the 
True  Cross,  which  he  has  brought  home  to  Venice  with 
him.  The  scene  represents  the  facade  and  open  door  of 
the  old  church  of  San  Giovanni.  The  cross  is  presented  on 
the  altar.  Bastiani  conceives  and  represents  it  all  in  the 
costume  and  spirit  of  1495  or  thereabouts.  To  the  L.,  the 
Fraternity.  Foreground  at  either  end,  portraits  of  mem- 
bers. 

562.  Giovanni  Mansiieti.  Miraculous  healing  of  a  blind 
girl.  The  daughter  of  Niccolo  Benvenudo  da  San  Polo  had 
no  pupils  to  her  eyes.  She  was  cured  by  the  touch  of  a 
blessed  candle  which  had  burned  near  the  Relic.  The 
scene  takes  place  in  the  hall  of  an  old  Venetian  palace  : 
one  wall  removed,  after  the  old  fashion,  as  in  a  theatre. 
Note  the  magnificent  ceiling,  and  the  Renaissance  archi- 
tecture.    Also,  staircase,  canal,  and  gondola. 

563.  Gentile  Bellini;  spoiled  by  restoration.  Cure  of 
Pietro  di  Ludovico  from  a  fever.  He  was  a  member  of  the 
Fraternity,  and  was  healed,  like  the  last,  by  the  touch  of  a 
candle  which  had  been  in  contact  with  the  Relic.  The 
scene  is  the  chapel  of  the  Fraternity.  Pietro  kneels  at  the 
altar.  In  the  foreground  are  brethren  in  black  and  scarlet. 
Note  the  splendid  architecture  and  pavement. 

564.  Mansiieti.  A  miracle  of  the  Relic.  One  of  the 
Brothers,  who  disbelieved  in  such  miracles  during  his  life, 
lies  dead  in  the  church  of  San  Lio  (to  the  R.)  The  Relic 
(R.  foreground)  is  being  carried  in  procession  to  his  funeral, 
in  1474.  At  the  old  wooden  Ponte  di  San  Lio,  it  miracu- 
lously refuses  to  move  further,  and  no  force  can  compel  it. 
Animated  picture  of  Venice  at  its  period.  Mansueti  himself 
stands  near  the  bridge  on  the  left,  holding  a  paper  which 
bears  in  Latin  his  name,  and  a  profession  of  faith  in  the 

C.  V.  K 


146  THE   ACADEMY  \yi. 

truth  of  the  miracle.  Note  the  short  gondolas  :  also,  the 
architecture  of  the  background,  with  spectators  looking  out 
of  windows. 

565.  Benedetto  Diana  ;  entirely  spoiled  by  bad  restoration. 
Another  miracle.  A  child  which  has  fallen  from  a  staircase 
is  healed  by  the  Relic. 

566.  Carpaccio.  Cure  of  a  Demoniac.  The  time  is 
dawn ;  the  houses  above  are  in  light,  the  water  below  still 
dark.  The  scene  is  on  the  Grand  Canal,  near  the  old 
wooden  Ponte  di  Rialto.  (Note  its  character.)  Above, 
on  the  left,  the  Patriarch  of  Grado  appears  on  the  balcony 
of  his  Palace,  and  holds  out  the  Relic,  which  cures  the 
possessed  (in  brown.)  Around  gather  various  ecclesiastics 
to  aid  in  the  ceremony,  with  golden  candlesticks.  The 
gondolas  below  have  gaily-painted  canopies,  and  the  gon- 
doliers are  in  bright  costumes  ;  the  sumptuary  law  com- 
pelling them  to  be  uniformly  black  was  not  yet  passed.  No 
steel  prows.     A  vivid  picture  of  old  Venice. 

■**567.  Gentile  Bellini.  Procession  of  the  True  Cross  in 
the  Piazza.  While  the  Relic  was  being  carried  in  state  by 
the  Fraternity  on  \\\€\r  festa,  (St.  John  the  Evangelist's  day,) 
Jacopo  de  Salis,  a  merchant  of  Brescia,  heard  that  his  son 
had  fallen  and  hurt  his  head.  He  prayed  fervently  to  the 
Relic,  and  his  son  was  cured.  Admirable  view  of  the 
Piazza  in  1496.  As  yet,  (L.,)  no  clock  tower.  Examine 
closely  the  old  mosaics  on  the  fagade  of  St.  Mark's,  now 
in  many  cases  replaced  by  modern  monstrosities.  Their 
subjects  are  as  at  present,  but  note  how  much  better  these 
earlier  and  simpler  works  harmonise  with  the  Byzantine 
character  of  the  architecture.  Study  them  closely  ;  observe 
the  Pharos  as  symbolising  Alexandria.  Houses  then  ad- 
joined the  Campanile.  Also,  observe  the  gilt  gateway  at 
the  corner  by  the  Doge's  Palace.  Great  movement  in  the 
procession,  carrying  the  gilt  rehquary.  The  brothers  wear 
their  white  surplices.  Study  this  picture  long  and  carefully. 
It  is  our  best  evidence  for  the  state  of  St.  Mark's  and  the 
Piazza  at  the  end  of  the  15th  century.  Item,  it  is  a  glorious 
piece  of  colour. 


VI.]  THE   ACADEMY  1 47 

568.  Gentile  Bellini.  A  procession  to  the  church  of  San 
Lorenzo  on  that  saint's  festa.  In  crossing  a  bridge,  the 
reliquary  fell  into  the  canal.  Several  persons  tried  to  rescue 
it ;  but  only  Andrea  Vendramin,  Grand  Guardian  of  the 
Brotherhood,  (afterwards  Doge,)  could  see  it  by  a  miracle. 
All  round,  Bellini  has  painted  the  chief  personages  of  his 
time,  kneeling  symbolically,  as  spectators  and  approvers  of 
the  miracle.  In  the  right  foreground  are  the  donors  of  the 
picture,  in  the  black  or  scarlet  uniform  of  the  Brotherhood. 
To  the  left,  a  crowd  of  Venetian  ladies,  headed  by  Catherine 
Cornaro,  Queen  of  Cyprus,  crowned,  in  dark  green.  A  fine 
picture. 

[Study  all  these  works  with  care,  and,  after-  seeing  them, 
stroll  round  one  afternoon  to  the  Scuola  itself,  in  order 
better  to  realize  their  meaning.  By  gondola,  the  Scuola  is 
reached  from  the  end  of  the  canal  which  leads  to  the  Frari  ; 
by  land,  you  walk  to  it  best  via  the  Rialto,  Sant'  Aponal, 
San  Polo,  and  the  Rio  Terra  S.  Stin.  The  building  is 
not  in  itself  very  interesting,  but  it  has  a  nice  bit  of  14th 
century  work,  and  a  little  piece  of  Lombardi  portico  ;  and 
it  helps  you  to  restore  the  mental  picture.     Described  p.  239.] 

In  the  apse  beyond  this  room  (apse  of  the  old  church  of 
the  Caritci)  are  three  pictures,  also  of  the  school  of  Gentile 
Bellini.  Two  of  them  come  from  the  Scuola  di  San  Marco, 
a  beautiful  building  near  San  Giovanni  e  Paolo,  now  the 
Civil  Hospital.     These  two  are, 

569.  Mansucti.  St.  Mark  healing  Anianus,  who,  being  a 
cobbler,  had  hurt  himself  with  an  awl.  St.  Mark  having 
come  to  Venice  from  Alexandria,  Venetian  painters  gener- 
ally conceive  him  as  surrounded  by  orientals  in  turbans. 

571.  Mansueti.  St.  Mark  preaching  at  Alexandria.  Ob- 
serve elsewhere  other  pictures  from  this  Scuola,  which  we 
shall  visit  later. 

The  third,  570,  by  Gentile  Bellini,  (temporarily  removed 
to  the  Hall  of  the  Holy  Cross,)  comes  from  the  Madonna 
dell'  Orto.  It  represents  San  Lorenzo  Giustiniani,  first 
Patriarch  of  Venice,  1451.  (Till  that  date,  Venice  was 
subject  to  the  Patriarch  of  Grado,  but  had  her  own  suffragan 


148  THE   ACADEMY  [VI. 

Bishop  at  San  Pietro  di  Castello  :  [see  later.]  The  Patri- 
archate of  Grado  and  Bishopric  of  Venice  were  then  merged 
in  the  Patriarchate  of  Venice.)  The  saint  is  in  profile, 
giving  the  benediction.  On  either  side,  a  canon  ;  behind, 
two  angels,  holding  his  crosier  and  mitre. 

Now,  return  through  the  first  hall  you  visited,  (Room  I.,) 
and  enter  the  apartment  at  the  far  end  of  it 

Room  II. 
Hall  of  the  Assumption. 

This  hall  contains  what  are  considered  by  the  authorities 
to  be  the  chief  masterpieces  of  the  collection,  arranged 
without  reference  to  chronological  order.  It  therefore  com- 
prises several  works  of  various  ages. 

Before  entering  the  room,  sit  on  the  last  seat  in  Room  I., 
facing  **Titian's  Assumption,  No.  40,  (within,)  the  effect  of 
which  is  better  seen  from  various  parts  of  this  room  than  from 
the  further  hall  which  actually  contains  it.    This  great  picture 
is  the  masterpiece  of  the  mighty  Venetian  artist  of  the  High 
Renaissance  ;  it  was  painted  as  an  altar-piece  for  the  High 
Altar  of  the  Franciscan  Church  of  the  Frari,  whose  official 
title  is  "  St.  Mary  in  Glory,"  (Santa  Maria  Gloriosa  ;)  and 
therefore  it  appropriately  represents  the  Assumption  of  the 
Virgin.     The   scheme   of  colour   is   so    arranged   that   the 
spectator's   eye   is   irresistibly  drawn  towards   the  ecstatic 
figure  of  the  ascending  Madonna  in  the  centre.     She  mounts 
as  if  of  herself,  impelled  by  inner  impulse,  but  on  clouds  ot 
glory  borne  by  childish  angels,  the  light  on  whose  forms  is 
admirably  concentrated.     But  the  spectator  sees  chiefly  the 
rapt  shape  of  Our  Lady  herself  and  the  brilliant  golden  haze 
behind  her.     She  holds  out  her  arms  to  the  Lord  in  heaven. 
Above,  the  Almighty  Father  descends  to  receive  her,  float- 
ing in  a  vague  halo  of  luminous  cherubim.     The  lower  and 
darker  portion  of  the  picture,  in  relatively  earthly  gloom, 
has  the  figures  of  the  Apostles,  in  somewhat  theatrical  atti- 
tudes of  surprise  and  agitation,  looking  up  with  awe  towards 
the  ascending  Madonna.     This  lower  half  is  best  seen  from 
much  nearer  :  indeed,  you  must  view  the  work  from  several 


VI.]  THE   ACADEMY  1 49 

positions  in  order  fully  to  understand  it.  The  youthful 
Apostle  in  red,  on  the  R.,  with  outstretched  hands,  is 
obviously  a  last  reminiscence  of  the  figure  of  St.  Thomas 
receiving  the  Holy  Girdle,  with  which  visitors  to  Florence 
and  Prato  will  be  already  familiar.  This  great  picture, 
usually  considered  the  finest  triumph  of  the  collection,  marks 
the  high  water-mark  in  composition  and  colour  of  the  Vene- 
tian Renaissance.  It  has  suffered  much  from  over-cleaning 
and  over-painting  by  "  restorers."  Wonderful  in  science 
and  technique,  it  strikes  one  still  as  unreal  and  exag- 
gerated. 

Enter  the  room.     L.  of  the  door, 

*36.  Cima.  Altar-piece  for  the  church  of  this  very 
Scuola,  (the  same  whose  upper  portion  is  now  occupied  by 
the  St.  Ursula  series  and  the  Holy  Cross  pictures.)  In  the 
centre  sits  Our  Lady,  enthroned,  under  a  high-arched  Re- 
naissance canopy,  with  a  group  of  cherubs  ;  at  her  feet  are 
the  graceful  little  angels  playing  musical  instruments  so 
frequent  in  Venetian  pictures.  (Note  how,  as  time  goes 
on,  the  angels,  once  male  and  adults,  grow  gradually  more 
feminine  and  more  infantile.)  To  the  L.  are  St.  Nicholas, 
with  his  three  golden  balls,  and  the  two  protector  saints  of 
the  Venetian  territory— St.  George,  in  armour,  and  St. 
Catharine,  bearing  the  palm  of  her  martyrdom.  To  the  R. 
are  St.  Antony  the  Abbot,  the  youthful  figure  of  St. 
Sebastian,  wounded  with  arrows,  and  St.  Lucy,  bearing  the 
palm  of  her  martyrdom.  In  the  distance  rises  one  of  Cima's 
favourite  mountain  backgrounds.  Compare  the  early  sim- 
plicity and  grace  of  this  beautiful  and  delicate  work  with 
the  theatrical  arrangement  of 

37.  Paolo  Veronese.  Madonna  and  Saints,  an  altar-piece 
for  the  Franciscan  church  of  San  Giobbe.  Here,  Our  Lady 
sits  in  an  affected  attitude  on  an  elevated  throne,  backed 
by  a  gold  brocade  or  mosaic,  (texture  ill  represented.)  By 
her  side  is  St.  Paul  with  the  sword  ;  beneath  are  St.  Jerome, 
in  cardinal's  dress,  and  St.  Francis  with  the  stigmata; 
behind  him  appears  St.  Justina  of  Padua.  The  infant  St. 
John  the  Baptist  stands  on  a  pedestal  at  Our  Lady's  feet. 


150  THE   ACADEMY  [vi. 

Splendid  as  a  piece  of  colouring,  and  considered  one  of 
Paolo's  masterpieces,  this  gorgeous  work  is  yet  a  typical 
example  of  the  later  faults  of  the  Santa  Conversazione.  The 
personages  have  no  rational  connection  with  one  another, 
and  the  attempt  to  combine  them  into  a  speaking  scene 
results  only  in  strained  affectation. 

**38.  Giovanni  Bellini,  perhaps  his  masterpiece.  Mag- 
nificent altar-piece  for  the  plague-church  of  San  Giobbe. 
(If  you  have  not  yet  visited  it,  refer  to  the  account  under 
the  Four  Great  Plague-Churches.)  In  the  centre  sits  Out 
Lady,  enthroned,  one  of  the  most  beautiful  Madonnas  evei 
painted  by  Bellini.  Her  hand  is  lifted  as  if  in  pity;  the 
Child  in  her  arms  raises  its  eyes  as  though  supplicating  the 
Father  on  behalf  of  the  plague-stricken.  On  the  steps  sit 
three  of  Bellini's  sweetest  *musical  angels  in  exquisitely 
varied  attitudes.  The  two  most  prominent  saints  are  the 
two  great  plague-saints  of  the  church  for  which  the  picture 
was  painted,  both  almost  nude  ;  to  the  L.,  St.  Job,  with  his 
hands  folded  in  prayer,  and  his  loins  girt  with  an  exquisitely- 
painted  shot  silk  scarf;  to  the  R.,  St.  Sebastian,  his  hands 
bound  behind  his  back,  and  pierced  with  the  arrows  of  the 
pestilence  :  the  painting  of  the  nude  and  the  anatomy  in 
this  figure  are  admirable — the  left  arm  stands  out  boldly 
from  the  canvas.  To  the  extreme  L.  and  R.,  are  two  Fran- 
ciscan saints,  as  becomes  the  Franciscan  church  of  San 
Giobbe ;  L.,  St.  Francis ;  R.,  St.  Louis  of  Toulouse  as  bishop ; 
behind  St.  Job  is  St.  John  the  Baptist,  behind  St.  Sebastian 
is  a  monk,  whom  I  take  (doubtfully)  to  be  St.  Thomas 
Aquinas.  Everything  in  this  beautiful  picture  should  be 
noticed,  from  the  exquisite  mosaic  niche,  like  a  chapel  of 
St.  Mark's,  above,  to  the  old-fashioned  musical  instruments 
of  the  angels  below.  Do  not  neglect  the  Renaissance  de- 
coration, and  the  exquisite  brocaded  bodice  worn  by  Our 
Lady.     The  feeling  of  the  whole  is  tender  and  pitiful. 

39.  Marco  Basaiti.  The  Calling  of  the  Sons  of  Zebedee, 
a  good  dry  picture,  hardly  worthy  of  a  place  in  this  room  of 
masterpieces.  Its  chief  interest  hes  in  its  rather  gloomy 
landscape. 


VI.]  THE    ACADEMY  15 1 

41.  Tintoretto.  The  Death  of  Abel.  One  of  its  painter's 
murky  masterpieces,  lighted  by  a  lightning  flash.  Im- 
mensely admired  by  those  who  love  Tintoretto.  Vigorous 
in  action  ;  sombre  in  colour. 

*42.  Tintoretto.  A  Miracle  of  St.  Mark,  another  pic- 
ture painted  for  the  Scuola  di  San  Marco,  which  we  shall 
afterwards  visit.  A  pagan  gentleman  of  Provence  had  a 
Christian  slave,  who  persisted  in  worshipping  at  the  shrine 
of  St.  Mark,  and  was  therefore  tortured  for  his  faith,  and 
ordered  to  be  executed.  St.  Mark  in  a  glory  descended  to 
dispel  his  persecutors.  The  centre  of  the  picture,  below,  is 
occupied  by  the  foreshortened  figure  of  the  tortured  slave, 
unharmed :  around  stand  pagans,  (always  thought  of  at 
Venice  as  Turks  or  Saracens,)  one  of  whom  shows  the 
shattered  hammer  of  torture  to  the  master  on  an  elevated 
seat  to  the  R.  Above  is  the  boldly  foreshortened  figure  of 
the  descending  saint,  a  powerful  muscular  frame,  shot  out 
of  a  cannon  as  it  were,  so  swift  is  its  descent.  The  figures 
to  the  L.  are  painted  in  strange  and  tortuous  attitudes, 
simply  for  the  sake  of  overcoming  difficulties  of  drawing. 
Below,  on  the  L.,  is  probably  the  donor.  This  is  a  fine 
piece  of  rich  colour,  and  a  masterpiece  of  technical  know- 
ledge, but  it  betrays  itself  too  much  as  an  effort  after 
artistic  execution.  It  is  probably  the  most  generally  ad- 
mired of  Tintoretto's  paintings.  (Other  pictures  of  this 
series  in  the  Royal  Palace.) 

43.  Tintoretto.  Adam  and  Eve.  A  fine  study  of  the 
nude,  in  low  tones  of  colour,  scarcely  more  than  chiaroscuro. 

*44.  Carpaccio.  Presentation  in  the  Temple.  A  beautiful 
scene,  which  shows  Carpaccio  in  a  somewhat  different  char- 
acter from  the  designer  of  the  St.  Ursulas,  as  a  painter  of  set 
religious  pictures.  To  the  L.,  Our  Lady,  accompanied  by  two 
attendants,  (one  of  them  bearing  the  doves  for  the  offering,) 
presents  the  Child  to  the  adoring  Simeon,  who  bows  to  the 
R.  in  an  attitude  of  veneration,  his  robe  being  sustained  by 
two  dignified  attendants.  The  summit  of  the  picture  is 
formed  by  one  of  the  rich  mosaic  niches  so  common  at  this 
period,  suggested  by  the  side  chapel  of  St.  Mark's.     At  the 


152  THE    ACADEMY  [VI. 

foot  are  three  angels  with  musical  instruments,  dainty 
enough  in  their  way,  though  suffering  ill  by  comparison 
with  the  great  Bellini,  38,  which  obviously  suggested  them. 
(But  many  good  judges,  I  see,  prefer  these  to  those.)  The 
comparison  of  these  four  pictures  (44,  36,  38,  ^7)  is  ex- 
tremely instructive.  Do  not  overlook  the  marble  decorations 
of  the  pedestal.     Over  the  door, 

45.  Paolo  Veronese.  Panel  from  a  ceiling  in  the  Doge's 
Palace.  Venice  on  her  throne  ;  Hercules  by  her  side  repre- 
sents her  military  strength  ;  Ceres  offers  her  sheaves  of  corn, 
which  appropriately  typify  the  wealth  of  the  mainland.  A 
fine  example  of  those  fantastic  chequers  of  which  we  shall 
see  many  on  the  decorated  ceilings  of  the  Ducal  Palace. 

Pass  up  the  steps  into 

Room  III. 

Mali  of  the  various  Italian  Schools: 

The  pictures  in  this  room  are  not  exclusively  Venetian, 
and  have  as  a  rule  little  bearing  on  Venetian  art ;  I  will 
therefore  pass  most  of  them  over  rapidly.  L.  of  entrance 
door, 

48.  Gentile  da  Fabriano,  (an  Umbrian  master  who  was 
called  to  Venice  to  assist  in  the  decoration  of  the  old  Doge's 
Palace,  before  the  great  fire,  and  who  left  a  permanent  im- 
press upon  the  art  of  the  city.  The  Vivarini  derived  their 
style  in  part  from  him.)  Madonna  and  Child  ;  not  a  good 
specimen  of  its  artist's  work. 

51.  School  of  Sqiiarcione  of  Padua.  Crucifixion,  with 
Our  Lady  and  St.  John.  A  good  specimen  of  the  formal, 
classical  Paduan  spirit,  of  which  Mantegna  and  (to  a  much 
less  degree)  Giovanni  Bellini  were  outcomes.  Note  in  this 
picture  especially  the  germs  of  Mantegna.  Its  painter  was 
one  Bernardo  Parentino. 

49.  Little  round  Madonna,  with  the  infant  St.  John  the 
Baptist  of  Florence,  of  the  school  of  Filippino  Lippi. 

Cross  the  room  ;  view  from  the  window  of  the  old  Court 
of  the  Carita. 

53.  Marco  Zoppo.     The  Triumphal  Arch  of  Doge  Nicolo 


VI.]  THE  ACADEMY  153 

Tron  ;  Renaissance  design.  Amorini  above  support  the 
arms  of  the  family  :  below,  those  of  the  three  chamberlains. 
From  the  Doge's  Palace. 

54.  St.  Caterina  Vigri  of  Bologna,  a  sainted  Dominican 
nun.  Glory  of  St.  Ursula,  who  holds  her  standard  and  the 
palm  of  her  martyrdom,  and  is  being  crowned  by  two 
angels  ;  on  either  side  two  of  her  Virgins  :  at  her  feet  a 
Dominican  nun  kneeling ;  either  the  donor  or,  perhaps,  the 
artist.     Compare  with  Carpaccio. 

55.  Unknown  Florentine.  Madonna  and  Child,  on  a 
Florentine  Renaissance  throne,  which  may  be  instructively 
compared  with  those  of  the  Venetians.  On  the  L.,  St.  Lucy 
with  her  lamp  ;  on  the  R.,  St.  Peter  Martyr  with  the  hatchet 
of  his  martyrdom  ;  above,  angels,  Useful  for  comparison 
of  the  Florentine  and  Venetian  types. 

56.  Garofalo.  Our  Lady  in  clouds,  with  four  saints : 
John  the  Baptist,  Augustine,  Peter,  Paul  ;  landscape  back- 
ground.    Characteristically  Ferrarese  work. 

57.  Bernardino  da  Siena.     Madonna,   Peter,  Paul. 

On  the  opposite  side  is  nothing  worth  notice,  except  a 
contorted,  base-naturalistic  Flaying  of  St.  Bartholomew,  by 
Spagnoletto.  One  of  the  worst  outcomes  of  so-called  natural- 
ism. 

The  apartment  beyond  this,  (Room  IV.,  Hall  of  the  Draw- 
ings,) contains  a  magnificent  collection  of  sketches,  in- 
cluding several  by  Leonardo  da  Vinci,  and  the  misnamed 
"  Sketch-Book  of  Raphael,"  with  drawings  by  Pinturicchio 
and  other  masters  of  the  Umbrian  school,  to  describe  which 
lies  beyond  the  province  of  this  Guide. 

Continuing  along  the  main  line  of  rooms,  we  reach  next, 

Room  V. 

Hall  of  the  Scholars  of  Bellini. 

This  room  contains  admirable  works  of  the  Early  High 
Renaissance,  all  by  scholars  of  Bellini  or  their  contempo- 
raries. They  should  be  closely  studied  as  giving  an  admir- 
able idea  of  Venetian  painting  at  the  beginning  of  the  i6th 


154  THE   ACADEMY  \vi. 

century,  just  before  and  during  the  prime  of  Titian.     R.  of 
the  door  as  you  enter, 

*io8.  Marco  Basaiti.  Youthful  dead  Christ,  attended 
by  angels  ;  a  rare  treatment  of  this  subject. 

L.  of  the  door, 

71.  Donato  Veneziano.  Pietk ;  the  dead  Christ  sup- 
ported by  St.  John  and  Our  Lady. 

68.  Marco  Basaiti.  Two  panels  from  an  altar-piece ; 
St.  James  with  his  staff,  and  St.  Anthony  Abbot  with  his 
Tau-shaped  cross  and  bell. 

*69.  Marco  Basaiti.  The  Agony  in  the  Garden  ;  his 
finest  work,  and  a  very  noble  and  touching  picture,  painted 
as  an  altar-piece  for  the  plague-church  of  San  Giobbe.  The 
picture  divides  itself  into  two  portions  ;  the  more  distant  re- 
presents the  Saviour,  praying  in  His  agony  on  the  moun- 
tain ;  the  angel  with  the  cup  is  flying  towards  him.  Below 
the  rock  on  which  he  kneels  are  three  sleeping  Apostles, 
as  is  usual  in  pictures  of  this  subject  ;  the  background  is 
formed  by  a  rather  lurid  and  appropriate  dawn.  This  mystic 
portion  of  the  picture  is  seen  through  the  arch  of  a  portico, 
from  which  hangs  a  lamp  ;  the  foreground  contains  the 
attendant  saints,  as  spectators  of  the  mystery, — an  incipient 
attempt  to  render  the  curious  old  arrangement,  by  which 
later  persons  interfered  with  the  scene,  a  little  less  obtru- 
sively anachronistic.  To  the  L.  are  the  two  Franciscan 
saints  so  frequent  at  San  Giobbe,  St.  Francis  and  St.  Louis 
of  Toulouse  ;  to  the  R.  are  St.  Dominic  and  St.  Mark.  A 
pathetic  picture,  full  of  fine  devotional  feeling. 

loi.  Marco  Bello.  Chiefly  remarkable  as  being  one  ot 
the  earliest  pictures  at  Venice,  in  which  the  little  Florentine 
St.  John  is  introduced  with  Our  Lady  and  the  Child.  The 
fashion  started  in  Florence,  where  it  had  a  meaning,  (St. 
John  the  Baptist  being  the  patron  saint  of  the  city,)  and 
afterwards  spread  elsewhere,  where  it  had  none,  because  it 
allowed  the  extension  of  a  certain  domestic  interest  always 
dear  to  the  greater  public. 

107.  Marco  Basaiti.  St.  Jerome  in  the  Desert,  as  a  Peni- 
tent,— as  usual  holding  the  stone  with  which  he  hammers 


VI.]  THE  ACADEMY  1 55 

his  breast.  The  two  great  St.  Jerome  subjects  are  this  and 
St.  Jerome  in  his  study  as  translator  of  the  Vulgate. 

70.  A7idrea  Previtali.  Madonna  and  Child,  with  St. 
John  the  Baptist  and  St.  Catharine,  the  latter  holding  a 
fragment  of  the  wheel  of  her  martyrdom,  which  was  broken 
by  angels.  Note  that  now  the  arrangement  of  the  attendant 
saints  has  become  quite  unconventional.  Through  the 
window,  sub-Alpine  landscape. 

Left  wall, 

72  and  12).  Catena.  Two  Fathers  of  the  Church,  Augus- 
tine and  Jerome. 

(No  number.)  Basaiti,  St.  George  slaying  the  Dragon  ; 
close  by,  the  Princess  fleeing.  The  white  charger  is  emble- 
matic of  purity  ;  still  a  little  stiff  in  his  joints. 

I  pass  over  two  or  three  good  typical  Venetian  Madonnas, 
one  by  Mansueti,  with  the  donor. 

76.  Marco  Marsiale,  (a  curious,  hard,  dry  painter,  who 
studied  in  the  school  of  Bellini,  but  afterwards  underwent 
the  influence  of  Diirer,  and  oddly  combines  German  with 
Venetian  characteristics.)  The  Supper  at  Emmaus.  The 
pilgrim  to  the  R.,  and  the  host  holding  the  hat  behind  him, 
are  extremely  German  in  type,  and  recall  Lucas  Cranach. 
But  the  German  tone  is  ill  assimilated.  This  is  an  excel- 
lent specimen  of  its  odd  artist's  peculiar  temperament. 

78.  Bariolomeo  Montagna ;  (do  not  confuse  him  with 
Mantegna,  a  very  different, vperson.  Montagna  Was  a  Vi- 
cenza  painter,  influenced.' Jay  the  Bellini,  but  with  marked 
original  characteristie,Sv^b^l'd,^l)rown,  muscular.  This  is  a 
good  specimen  of  m§  style,\though  more  pathetic  than  his 
wont.)  A  very  typical  and  terrible  plague-picture,  from  the 
plague-church  of  San  R9C^0'  at  Vicenza.  In  the  centre 
stands  the  wounded  Christ,  displaying  almost  painfully  the 
marks  of  his  crucifixion  :  to  the  L.,  St.  Sebastian,  shot 
through  with  the  arrows  of  the  plague ;  to  the  R.,  St. 
Rocco,  with  one  leg  bared  to  show  his  plague-spot.  This 
is  perhaps  the  most  obvious  pestilence-picture  to  be  found 
in  Venice  ;  the  air  of  poignant  suftering,  combined  with 
patience  and  adoration,  on  the  faces  of  the  saints,  strikes 


156  THE   ACADEMY  [vi. 

the  keynote.  The  nude  is  well  painted  in  warm  flesh- 
tones. 

*79.  Bissolo.  The  Confession  of  St.  Catharine  of  Siena. 
The  holy  nun  kneels  meekly,  in  her  Dominican  robes,  before 
the  feet  of  the  Saviour,  who  places  on  her  head  the  crown  of 
thorns,  while  he  shows  her  at  the  same  time  the  heavenly 
crown  which  he  holds  in  reserve  for  her  in  the  glorious 
future.  Behind  stands  St.  Peter  with  his  keys,  close  to 
whom  kneels  a  female  saint,  (I  think,  St.  Catharine  of  Alex- 
andria, but  perhaps  the  Magdalen.)  To  the  R.  stand  St. 
Andrew  (?)  and  St.  Paul ;  to  the  L.,  the  angel  Raphael,  with 
the  child  Tobias  carrying  the  fish.  As  this  last  figure  often 
indicates  a  votive  offering  for  blindness,  (see  the  Book  of 
Tobit,)  it  is  probable  that  this  deeply  religious  picture,  with 
its  representation  of  patient  suffering,  was  the  gift  of  a  blind 
woman  donor,  doubtless  a  Dominican  nun.  It  comes  from 
the  Dominican  Church  of  St.  Peter  Martyr  at  Murano. 

94.  Bissolo.  Half-length  Madonna  and  Child,  with  four 
saints.  Observe  Our  Lady's  face,  as  characteristic  of  the 
later  Venetian  type.  The  figure  of  St.  Job,  to  the  R.,  shows 
it  to  be  a  plague-picture  ;  the  other  saints  from  L.  to  R. 
are  :  St.  John  the  Baptist,  St.  Rose,  and  St.  James  the 
Greater.     Over-restored. 

93.  Bissolo.  Presentation  in  the  Temple.  A  good  pic- 
ture, suggested  by  a  Bellini  now  in  England.  Our  Lady 
offers  the  Child  to  the  aged  Simeon,  behind  whom  stands 
Joseph ;  to  the  L.  are  St.  Antony  of  Padua  and  a  female 
saint,  (possibly  St.  Justina,)  offering  the  doves  of  the  sacri- 
fice ;  below  kneels  the  donor. 

80.  Montagna.  Our  Lady  and  Child,  enthroned  on  a 
Paduan  throne,  with  characteristic  classical  reliefs ;  St. 
Sebastian,  to  the  L.,  with  his  suffering  face,  shows  it  to  be  a 
plague-picture  ;  to  the  R.,  the  common  desert-saint,  St. 
Jerome.  This  votive  offering  comes  from  the  plague-church 
of  San  Rocco  at  Vicenza. 

81.  Andrea  Busati.  A  magistracy  picture  from  the  Doge's 
Palace.  St.  Mark,  as  patron  of  Venice,  enthroned  between 
St.  Andrew  and  St.  Francis  (or  Bernardino .'')  probably  the 


VI.]  THE  ACADEMY  157 

name-saints  of  the  magistrates  of  the  moment.  It  was  usual 
for  officers  of  the  Republic  thus  to  mark  the  period  of  their 
tenure  of  office  by  presenting  their  portraits,  or  some  sym- 
bolical work  of  art,  to  their  official  residence. 

82.  Benedetto  Diana.  A  fine  altar-piece  from  St.  Luke's 
at  Padua.  Our  Lady  enthroned,  with  St.  Jerome  ;  the 
painter's  personal  patron,  St.  Benedict  (I  somewhat  doubt 
this  identification);  St.  Justina,  the  patron  saint  of  Padua, 
with  the  sword  of  her  martyrdom  ;  and  St.  Mary  Magda- 
len, with  the  vase  of  ointment.  Observe  the  fantastic 
decorations  and  head-dresses  ;  we  are  getting  beyond  the 
purity  of  the  early  period.  The  colour  is  crude  in  parts  : 
the  tone  is  affected. 

83.  Benedetto  Diana.  Half-length  Madonna,  between  St. 
Jerome  and  St.  Francis.     A  magistracy  picture. 

84.  Benedetto  Diana.  Good  Madonna,  between  St.  John 
the  Baptist  and  St.  Jerome.  Compare  this  mentally  with 
the  Bellinis  and  note  the  differences. 

86.  Attributed  to  Benedetto  Diana.  Madonna  enthroned  ; 
the  face  unusually  aged  ;  with  the  Infant  Christ  and  St. 
John  the  Baptist ;  below  stand  St.  Louis  of  Toulouse  and 
St.  Anna,  mother  of  the  Virgin.  A  somewhat  mannered 
picture. 

End  wall, 

89.  Carpaccio.  The  Martyrdom  of  the  Ten  Thousand 
Christians  on  Mount  Ararat.  This  confused  and  mannered 
picture,  painted  twenty  years  later  than  the  St.  Ursula  series, 
suffices  to  show  that  the  Renaissance  had  done  no  good 
to  Carpaccio's  art  ;  he  has  learned  now  how  to  draw  better, 
but  he  has  lost  all  his  early  naivete  and  originality.  The 
work  was  ordered  by  the  Prior  of  the  Monastery  of  Sant' 
Antonio  di  Castello,  the  monks  of  which  had  imprudently 
admitted  a  plague-stricken  priest :  the  Prior  vowed  this 
picture  to  the  10,000  martyrs  if  his  brethren  escaped 
contagion. 

95.  Attributed  to  Titian,  and  said  to  be  his  earliest  work. 
The  Visitation  of  Mary  to  Elizabeth  ;  behind  stand  their 
respective  husbands,  Joseph  and  Zacharias. 


158  THE   ACADEMY  [vi. 

90.  Carpaccio.  The  Meeting  of  Joachim  and  Anna  at  the 
Golden  Gate,  before  the  birth  of  the  Virgin.  At  the  sides 
are  two  royal  saints,  Louis  IXth  of  France,  and  St.  Ursula 
with  her  banner  and  the  palm  of  her  martydom.  Some 
writers  call  the  last  St.  Elizabeth  of  Hungary,  but  Elizabeth 
was  not  a  martyr. 

91.  Carpaccio.  Ceremonial  picture,  from  the  church  of 
St.  Antonio  di  Castello,  representing  the  old  interior  of  the 
church,  with  a  procession  of  pilgrims. 

97.  Mansuett.  Franciscan  plague-picture,  from  the 
church  of  St.  Francis  at  Treviso.  In  the  centre,  St.  Sebas- 
tian, bound  to  a  column,  and  pierced  with  the  arrows  of  the 
pestilence  ;  extreme  L.,  San  Liberate,  patron  saint  of  the 
town  and  district  of  Treviso,  in  a  magnificent  mantle,  bear- 
ing his  banner  ;  to  the  extreme  R.,  San  Rocco,  with  his 
pilgrim's  staff  and  bundle,  raising  his  robe  to  show  his 
plague-spot ;  a  little  behind,  St.  Gregory  and  St.  Francis. 
This  is  a  good  painting,  and  a  very  characteristic  local 
plague-picture,  full  of  meaning.  The  heads  have  fine  indi- 
viduality. 

98.  Donato  Veneziano.  Crucifixion,  with  very  touching 
figures  of  Our  Lady  and  St.  John.  St.  Mary  Magdalen 
embraces  the  foot  of  the  cross.  At  the  ends  are  two  Fran- 
ciscan saints,  St.  Francis  and  St.  Bernardino  of  Siena. 
From  the  old  Franciscan  church  of  San  Niccolo  dei 
Frari. 

100.  Lazzaro  Sebastiam.  Nativity,  with  shed,  manger, 
ox,  and  ass  ;  St.  Eustace,  St.  James,  St.  Augustine  (or 
Nicholas  ?)  and  an  Evangelist  (Mark  ?). 

103.  Peter  and  Paul,  Jerome  and  Ambrose,  by  Carlo 
Crivelli,  whose  dry,  ornate  Paduan  manner  is  better  studied 
in  London  or  Milan. 

104.  Lazzai'o  Sebasiiani.  Very  enigmatical  Franciscan 
picture,  representing  St.  Francis  (or  Antony  of  Padua) 
seated  in  a  tree  :  beneath,  St.  Bonaventura  and  another.  I 
do  not  understand  it. 

105.  Carlo  Crivelli.  Four  panels  of  a  plague-picture : 
San    Rocco    showing   his   plague-spot,    St.    Sebastian,   St. 


VI.]  THE  ACADEMY  159 

Emidius,  patron  of  Ascoli,  (where  Crivelli  lived,)  and  San 
Bernardino. 

I  pass  by  in  this  room  several  other  pictures  of  great 
merit.     To  the  R.,  enter 

Room  VI. 

Hall  of  Callot. 

Landscapes,  etc.,  mainly  Dutch,  and  rec{uiring  no  expla- 
nation. 

Room  VI. 

Hall  of  the  Painters  of  Friull. 

Friuli  is  a  poor  mountain  district  north  of  Venice  ;  it 
produced  a  group  of  peculiar  followers  of  Bellini,  noticeable 
for  their  dry  formal  drawing.  I  will  pass  rapidly  through 
these  pictures,  not  many  of  which  are  of  the  first  order. 

159.  Martino  da  Udine.  Half-length  Madonna  and  Child, 
with  saints  and  donors,  (Jerome,  Daniel,  Catharine,  and 
Antony  Abbot.) 

160.  Girolamo  da  Santa  Croce.  St.  Mark  with  Gospel 
and  lion. 

164.  Marcello  Fogolino.  Madonna  and  Child,  with 
Franciscan  saints ;  from  L.  to  R.,  Bonaventura,  Clara, 
Francis,  Antony  of  Padua,  Bernardino,  Louis  of  Toulouse. 

*i66.  Rocco  Marconi^  far  the  finest  of  the  Friulans. 
Descent  from  the  Cross,  his  masterpiece.  The  Magdalen 
to  the  R.  is  very  beautiful ;  the  St.  John  is  (contrary  to 
usage)  represented  as  old  ;  in  the  background,  a  Dominican 
woman  saint  (others  say,  St.  Monica)  and  St.  Benedict,  or 
perhaps  St.  Dominic.  (I  think  the  former,  as  it  comes 
from  a  Servite  church).  This  is  a  touching  work.  Fine 
landscape  background.  Great  breadth  and  exquisite  clear 
colour.  On  either  side  of  it,  good  Virtues  by  Girolamo  da 
Udine. 

147  is  a  plague-picture,  with  the  now  familiar  figures  of 
San  Rocco  and  St.  Sebastian. 

148  and  150.     A  divided  Annunciation. 

149.  The  Risen  Christ,  by  Francesco  da  Santa  Croce. 


l6o  ,  THE   ACADEMY  [vi. 

151.  Martino  da  Udine.  An  Annunciation,  showing  the 
later  mode  of  envisaging  this  conventional  subject ;  the 
angel's  floating  draperies  are  intended  to  indicate  that  he 
has  travelled  through  space. 

I  do  not  dwell  upon  the  many  other  good  examples  of  the 
somewhat  dry  Friulan  manner  in  this  room,  not  because 
they  are  not  worthy  of  patient  study,  but  because  most  of 
them  are  now  sufficiently  explained  to  the  reader  by  their 
labels,  with  the  aid  of  the  hints  already  supplied  him. 

Room  VIII. 
Hall  of  the  Flemings, 

contains  several  excellent  Flemish  pictures,  worthy  of  study 
in  themselves,  but  which   I  pass  by  as  not  specially  con- 
nected with  Venice.     Some  of  them  are  lovely. 
Return  to  Room  V.,  and  mount  the  steps  to 

Room  IX. 
Hall  of  Paolo  Veronese. 

This  room  contains  several  later  works  of  the  Venetian 
High  Renaissance,  mostly  large  and  gorgeous  canvases, 
which  reflect  the  magnificence  of  16th-century  Venice. 
They  take  the  public  fancy,  but  are  deficient  in  the  higher 
artistic  qualities  of  an  earlier  period,  though  usually  show- 
ing consummate  technique  and  splendid  colour. 

The  end  wall  to  the  R.  is  entirely  occupied  by  the  great 
*Paolo  Veronese  of  the  Supper  at  the  House  of  Simon  the 
Pharisee  :  one  of  the  most  popular  pictures  in  the  collection. 
The  scene  is  laid  in  a  vast  High-Renaissance  Venetian 
loggia  of  three  arches  ;  the  background  represents  a  glorious 
imaginaiy  Palladian  Venice.  The  sense  of  space  is  bound- 
less. The  Christ  in  the  centre,  however,  is  (very  character- 
istically) less  conspicuous  than  the  group  of  lordly  guests 
and  more  especially  the  figure  of  the  gallant  nobleman,  in 
rich  green  robes,  in  the  L.  foreground,  giving  orders  to  the 
attendants.  The  general  tone  is  merely  sumptuous.  Many 
of  the  domestic  and  almost  grotesque  episodes  among  the 
accessories  brought  down  upon  the  painter  the  strictures  of 


VI.]  THE   ACADEMY  l6l 

the  Inquisition  :  he  painted  out  some  ;  others  still  remain. 
This  is  entirely  a  regal  and  ceremonial,  not  in  any  sense  a 
sacred,  picture  ;  it  was  painted  for  the  Refectory  of  the 
Dominican  monastery  of  San  Giovanni  e  Paolo,  which 
oddly  accepted  it  as  a  religious  work.  The  subject  is  one 
of  those  which,  like  the  Last  Supper  and  the  Marriage  at 
Cana  in  Galilee,  were  usually  selected  as  appropriate  for  the 
decoration  of  refectories.  Glowing  colour  ;  superb  archi- 
tecture ;  faultless  perspective ;  dashing  life — and  no  soul 
in  it. 

Wall  to  the  L., 

207.  Paolo  Veronese.  Our  Lady  of  the  Rosary.  This  is 
a  Dominican  picture  from  the  Dominican  church  of  St. 
Peter  Martyr  at  Murano.  St.  Dominic  was  the  introducer 
of  the  Rosary ;  he  is  therefore  represented,  attended  with 
angels,  distributing  roses  to  the  faithful,  who  are  typified,  on 
the  R.,  by  a  kneeling  Doge  in  his  robe  of  state,  accompanied 
by  senators,  chamberlains,  and  the  ladies  of  his  family  :  and 
on  the  L.  foreground,  by  a  kneeling  Pope,  with  his  triple 
tiara,  an  Emperor,  and  another  group  of  ladies.  This  is  a 
fine  ceremonial  picture  of  its  sort,  spoilt  by  restoration. 

Near  by,  skied,  are  four  pictures  by  Paolo  Veronese  from 
the  legend  of  St.  Christina.  Take  them  in  the  following 
order :  205,  having  broken  her  father's  idols  of  gold  and 
silver,  to  give  them  to  the  poor,  she  is  carried  out  into  the 
lake  of  Bolsena  by  his  orders  to  be  drowned  :  206,  having 
escaped  this  fate,  she  is  imprisoned,  and  visited  in  prison 
by  an  angel ;  208,  she  refuses  to  worship  the  statue  of 
Apollo  :  209,  she  is  scourged  by  two  executioners  at  a 
column.  But  to  Paolo,  the  legend  is  simply  an  excuse  for 
painting  a  handsome  woman  in  various  telling  attitudes. 
Strange  to  say,  a  church  accepted  them  as  sacred  pictures. 

212.  Paolo  Veronese.  The  Battle  of  Lepanto,  (1571.) 
Below  is  the  naval  battle  itself,  a  confused  melee  :  above,  in 
clouds,  suppliant  Venice  kneels  before  Our  Lady,  imploring 
her  aid  to  secure  the  victory ;  St.  Mark,  attended  by  his 
Hon,  introduces  her  and  aids  her  suit ;  to  the  L.  are  St. 
Peter   the   Apostle   and    St.   Peter   Martyr.      This    curious 

G.  V.  L 


1 62  THE   ACADEMY  [vi. 

allegorical  picture,  so  redolent  of  its  age,  comes  from  the 
church  of  St.  Peter  Martyr  at  Murano. 

*2io,  above,  Tintoretto,  (skied.)  The  Madonna  and  the 
Camerlenghi.  Here  we  have  a  characteristic  Venetian 
mode  of  painting  portraits.  To  the  L.  sits  Our  Lady  with 
the  Child,  surrounded  by  three  Venetian  patrons,  St.  Mark, 
St.  Theodore,  and  St.  Sebastian.  In  front  of  her,  in  atti- 
tudes of  adoration,  bow  or  stand  the  three  Chamberlains  or 
Treasurers  of  the  Republic  ;  behind  them  again  are  their 
servants,  carrying  bags  of  treasure.  It  was  usual  for  officials 
of  the  Republic  to  have  their  portraits  thus  painted  in  the 
act  of  worshipping  Our  Lady  or  St.  Mark,  or  some  other 
religious  personage.  Note  how  this  practice  grows  out  of 
the  earlier  little  figures  of  the  kneeling  donor.  But  now  the 
portrait  is  the  real  subject  of  the  picture,  and  the  Madonna 
has  sunk  into  a  mere  excuse  for  painting  it.  Nominally, 
this  work  is  an  Adoration  of  the  Magi :  earthly  rulers  often 
had  themselves  painted  in  this  scene,  as  symbolising  the 
subjection  of  kings  to  Christ :  here,  the  pretence  is  very 
thin,  and  money-bags,  emblems  of  the  treasury,  replace  the 
golden  cups  for  gold,  myrrh,  and  frankincense,  which  are 
usual  in  more  ancient  treatments. 

*2I3.  Tintoretto.  Crucifixion;  a  noble  picture,  in  which, 
however,  all  the  saintly  forms  have  assumed  the  voluptuous 
type  of  the  later  Venetian  women.  It  was  painted  for  the 
Confraternity  of  the  Rosary  at  the  Dominican  church  of  San 
Giovanni  e  Paolo.     Sombre  sympathetic  background. 

214.  Moro.  Curious  picture,  only  noteworthy  for  its 
quaint  identification  of  St.  Mark  with  Venice.  The  Evan- 
gelist presides  at  the  naval  conscription  :  view  of  the  Riva 
dei  Schiavoni. 

217.  Tintoretto.  The  Descent  from  the  Cross,  with  Our 
Lady  fainting. 

219.  Tintoretto.  Assumption  of  Our  Lady,  noticeable  for 
its  luminous;  atmosphere,  and  for  the  apparent  lightness 
with  which  the  Madonna  is  springing  upward.  At  the  base, 
the  Apostles  surround  the  empty  sarcophagus.  Compare 
with  the  great  Titian. 


VI].  THE   ACADEMY  163 

221.  Tintoretto.  Altar-piece  of  the  church  of  St.  Cosmo 
and  Damian  on  the  Giudecca.  At  the  foot  kneel  the  holy 
Doctors  themselves,  in  their  red  robes,  with  their  boxes  of 
ointment  and  surgical  instruments.  In  clouds  above  sits 
Our  Lady  of  the  Immaculate  Conception,  clad  with  the  sun, 
and  planting  her  feet  upon  the  crescent,  with  a  singular 
background  of  the  Plains  of  Heaven,  To  the  L.  stands  St. 
Cecilia;  to  the  R.  St.  Theodore,  and  a  saint  with  a  child,  (I 
think,  Antony  of  Padua.)  Above,  on  the  R.,  a  flying 
angel.  This  is  an  example  of  the  last  stage  in  the  theatrical 
grouping  of  what  was  once  Our  Lady  with  attendant  saints 
in  separate  niches. 

225.  Tintoretto.  Portraits  of  three  Venetian  treasurers, 
with  their  secretaries,  represented  as  adoring  St.  Justina  of 
Padua.  Here  we  see  another  good  example  of  the  way  in 
which  portraits  finally  got  the  better  of  the  central  sacred 
subject.  In  former  times  the  donor  asked  for  a  St.  Justina, 
with  himself  in  the  corner ;  now  he  expects  a  portrait  of 
himself,  with  St.  Justina  in  the  corner.  The  figure  of  St. 
Justina  is  very  fine.  These  three  Treasurers  (1580)  are 
Marco  Giustinian,  Alvise  Soranzo,  and  Alvise  Badoer :  the 
name  of  the  first  probably  suggested  the  particular  saint  to 
be  used  as  a  figure-head.  The  work  was  painted  for  the 
Palace  of  the  Camerlenghi,  near  the  Rialto. 

The  end  wall  of  exit  is  occupied  by  several  admirable 
*portraits,  chiefly  by  Tintoretto,  of  Venetian  nobles  of  the 
late  Renaissance. 

229.  Bassano.  Doge  Antonio  Memmo,  in  his  cap  and 
robe  of  office.  A  keen,  eager  man  of  business.  Light, 
clear,  and  effective.     Beneath  it, 

230.  Tintoretto.  Marco  Grimani,  Procurator  of  St.  Mark, 
(1570,)  a  fine,  thoughtful,  vigorous  head,  vigorously  painted. 
Rugged  and  able.  Attributed  by  some  to  Palma  the 
younger. 

233.  Tiiitoretto.  Doge  Alvise  Mocenigo,  (1570,)  with  his 
cap  of  office.     Painted  for  the  Procuratie. 

234.  Tintoretto.  Andrea  Capello,  Procurator  of  St.  Mark; 
a  shrewd  face  ;  from  the  Procuratie.     Above  these, 


I64  THE   ACADEMY  [vi, 

232.  Tintoretto.  The  Woman  taken  in  Adultery  ;  chiefly 
remarkable  for  a  fine  voluptuous  Venetian  female  figure. 

*237.   Tintoretto.     Splendid  portrait  of  Battista  Morosini. 

*24S.  Titian.  Glorious  portrait  of  Jacopo  Soranzo. 
Documentary  evidence  ascribes  it  to  Tintoretto.  Among 
so  many  undoubted  Tintorettos,  from  which  this  portrait 
greatly  differs,  it  is  difficult  to  admit  the  ascription. 

243.  Tintoretto.  A  very  striking  picture  of  four  unknown 
senators,  adoring  the  Madonna  and  Child.  From  the 
Magistrate  del  Sale. 

241.   Tintoretto.     Another  splendid  portrait. 

The  ensemble  of  portraits  on  this  end  wall,  above  and 
below,  gives  a  magnificent  impression  -of  the  vigorous  and 
virile  Venetian  aristocracy  of  this  great  period.  I  do  not 
dwell  upon  each  picture  individually,  because  they  are  rather 
subjects  for  personal  inspection  and  admiration  than  for 
that  sort  of  explanation  which  it  is  the  business  of  this 
Guide  to  afford.     But  all  of  them  deserve  attentive  study. 

The  R.  wall  has  works  of  Carletto  Cnliari,  son  and  pupil 
of  Paolo  Veronese,  and  other  artists  of  the  same  school, 
more  or  less  incipiently  decadent. 

248.  Carletto  Caliari.  The  Way  to  Calvary  ;  ladylike  St. 
Veronica  presents  her  handkerchief  to  the  fallen  Christ.  A 
feeble  echo. 

*252.  Bassano  (Leandro).  The  Resurrection  of  Lazarus  ; 
a  good  picture  in  its  way,  but  the  buxom  Mary  Magdalen  in 
the  foreground  looks  much  more  decidedly  like  a  sinner 
than  a  penitent ;  she  is  simply  a  careless  voluptuous 
Venetian  woman.  Nevertheless,  in  technique  this  is  per- 
haps its  master's  best  work. 

255.  Paolo  Veronese.  Crucifixion.  Very  unpleasing. 
The  main  subject,  so  tremendous  in  import,  is  relegated  to  a 
small  portion  of  the  picture  on  the  extreme  L.,  and  that  in 
the  background  :  even  of  this,  the  most  conspicuous  figures 
are  those  of  the  too  earthly  Magdalen  at  the  foot  of  the 
cross,  and  the  good  centurion,  St.  Longinus,  represented  in 
the  very  act  of  conversion.  The  rest  of  this  big  and  uncon- 
sciously irreverent   canvas   is    mainly  occupied  by   Roman 


VI.]  THE  ACADEMY  1 65 

soldiers  and  a  distant  view  of  a  fanciful  Jerusalem.  The 
subject  is  obviously  one  for  which  Veronese  was  peculiarly 
unfitted  by  temperament  and  training.  Yet  a  church  hung 
it  as  an  altar-piece. 

*26o.  Paolo  Veronese.  The  Annunciation  ;  a  work  which 
it  is  most  instructive  to  compare  with  earlier  Venetian  and 
Florentine  examples.  All  the  old  formal  elements  of  the 
scene  are  here  retained  ;  the  angel  Gabriel  still  holds  a  lily, 
and  is  still  (as  always)  to  the  L.  of  the  picture  ;  Our  Lady 
still  kneels  at  a  prie-dieu  to  the  R. ;  a  loggia,  now  grown 
with  Renaissance  expansiveness  into  vastly  gieater  propor- 
tions, separates  them  as  it  ought  to  do  :  in  the  background 
is  the  usual  "  enclosed  garden,"  though  its  architecture  has 
become  most  stately  and  Palladian.  In  spite  of  these  formal 
reminiscences,  however,  of  the  ancient  treatment,  the  whole 
spirit  of  the  scene  is  utterly  changed.  The  flying  angel 
enters  with  gracefully  arranged  draperies,  intended  to  be 
indicative  of  rapid  descent  through  the  air  :  his  face  and 
figure  have  the  ample  voluptuousness  of  all  later  Venetian 
painting.  Our  Lady's  countenance  is  still  sweet,  if  insipid, 
and  recalls  somewhat  of  Titian,  and  even  (m  cast  of 
features)  of  Bellini ;  but  she  is  merely  a  dignified,  aristo- 
cratic, well-fed,  unthinking  Venetian  lady.  This  is  an  ex- 
cellent work  of  its  kind,  but  certainly  ttot  a  sacred  picture. 
Architecture  admirable ;  colour  fine ;  drawing  vigorous. 
From  the  Sciiola  of  the  Merchants. 

264.  Paolo  Veronese.  Coronation  of  the  Virgin  by  the 
first  and  second  Persons  of  the  Trinity,  in  a  vast  assemblage 
of  miscellaneous  saints,  many  of  whom  can  be  more  or  less 
recognised  by  their  symbols,  including  the  four  Doctors  of 
the  Church,  and  the  chief  apostles  and  martyrs.  The  reason 
for  depicting  this  immense  assemblage  is  that  the  picture 
was  painted  for  the  suppressed  church  of  All  Saints  (Ognis- 
santi  :)  it  is  an  excellent  work  in  its  way,  but  again  proves 
Veronese's  total  unfitness  for  sacred  subjects,  especially  in 
the  person  of  the  bhie-robed  Madonna,  who  is  simply  a 
handsome  and  frivolous  young  Dogaressa.  The  saints 
below  are  painted  for  their  full  fleshly  faces,  their  rotund 


1 66  THE   ACADEMY  [VL 

anatomy,  and  their  splendid  draperies,  not  in  order  to  excite 
devotional  feeling.  A  fine  specimen  of  Veronese's  colouring. 
Eastlake  well  compares  it  to  the  transformation  scene  of  a 
pantomine. 

265.  Assumption,  by  Veronese.  Here,  once  more,  the 
formal  elements  of  the  Apostles  looking  into  the  empty 
sarcophagus  are  retained,  but  their  attitudes  are  varied  with 
studied  care.     Again  a  fine  piece  of  colour. 

On  all  the  walls  of  this  room  are  many  other  pictures  de- 
serving, after  their  kind,  of  serious  study. 

Room  X. 
Hall  of  Bonifazlo. 

This  room  is  filled  with  the  masterpieces  of  the  latest 
age  of  art  in  Venice  before  the  decadence.  It  contains 
an  immense  number  of  works  of  great  artistic  value,  (now 
less  admired  than  of  old — and  justly,)  to  relatively  few  of 
which,  however,  I  can  call  attention,  and  that  more  from  the 
point  of  view  of  explanation  than  of  criticism.  Do  not 
think  you  must  pass  by  pictures  simply  because  I  have  not 
noticed  them. 

Modern  research  has  decided  that  there  were  three 
painters  of  the  name  of  Bonifazio,  all  related,  whose  works 
have  only  of  late  been  critically  distinguished.  I  mark  them 
by  the  figures  I.,  II.,  and  III.  But  great  uncertainty  sur- 
rounds their  productions,  and  no  two  critics  agree  which 
painted  which  among  them. 

End  wall,  L.  of  door  as  you  enter, 

269.  Bonifazio  II.  (others  say.  III.).  A  beautiful  Sacra 
Conversazione.  In  the  centre,  Our  Lady  and  Child,  with 
the  little  St.  John  the  Baptist,  now  a  common  element  in 
such  pictures  (borrowed  from  Florence).  On  the  L.,  St. 
Joseph  and  St.  Jerome  ;  on  the  R.,  two  women  saints  (Mary 
Magdalen  and  Catharine  .''—the  first  seems  to  hold  a  box  of 
ointment,  the  second  a  book,  which  may  indicate  the  learned 
princess  who  was  patroness  of  learning.)  Fine  rich  colour. 
Above  this, 


VI.]  THE   ACADEMY  l(>l 

274.  A  good  Ecce  Homo,  by  Palma  the  younger.  Still 
higher, 

317.  Rocco  Marconi,  C\\x\s\.  enthroned  between  St.  Peter 

and  St.  John  the  Baptist. 

*270.  Tintoretto.  A  Madonna  della  Misericordia,  in- 
teresting as  showing  the  way  in  which  this  early  and 
difficult  subject  is  accommodated  to  the  ideas  of  more 
modern  art.  The  red  and  blue  of  Our  Lady's  robes  are 
very  characteristic  of  Tintoretto's  colouring.  The  votaries 
evidently  belong  to  some  religious  confraternity. 

272.  Torbido.  Fine  portrait  of  an  old  woman,  probably 
intended  as  a  Sybil. 

275.  Copy  after  Bonifazio  II.  ;  another  Sacra  Conver- 
sazione, closely  resembling  the  first,  and  showing  the 
almost  mechanical  ease  and  grace  of  composition  which 
this  class  of  subject  had  now  attained.  L.,  St.  James  and 
St.  Jerome  ;  R.,  St.  Catharine  with  her  wheel ;  observe  in 
both  the  landscape  background. 

L.  wall,  278.  Bonifazio  II.  (more  probably  I.).  Christ 
and  the  Woman  taken  in  Adultery  ;  a  splendid  specimen 
of  this  artist. 

*28i.  Bonifazio  II.  (according  to  others  I.).  Adoration 
of  the  Magi  ;  an  excellent  picture  and  splendid  piece  of 
colour  ;  interesting  also  as  showing  the  later  treatment  of 
these  old  conventional  subjects.  The  scene  is  the  usual 
ruined  temple  ;  in  the  background,  the  shed  and  stable ; 
over  Our  Lady's  head,  the  star  ;  the  eldest  king  kneels, 
as  always  ;  the  second  king  presents  his  gift,  which  the 
Child  accepts.  These  two  are  evidently  portraits  of  the 
noble  donors  ;  their  robes  are  gorgeous.  To  the  extreme 
R.  stands  St.  Joseph,  a  fine  figure.  In  the  2nd  arch  is  the 
third  or  young  king,  represented  as  a  Moor,  (which  is 
the  rule  in  North  Italian,  German,  and  Flemish  pictures.) 
A  page  kneels  beside  him  and  hands  him  his  gift.  (The 
three  kings  represent  not  only  the  three  ages,  but  also 
Europe,  Asia,  and  Africa,  the  two  former  more  or  less 
Christianised,  the  last  still  mainly  Mahommedan  or  heathen, 
which  accounts  for  the   Moorish  king  being  always  repre- 


1 68  THE  ACADEMY  [VI. 

sented  as  just  entering,  and  being  separated  here  from  the 
rest  of  the  picture.)  The  peeping  figure  behind  him  is 
characteristic  of  late  Venetian  art.  This  is  a  work  of  great 
dignity  and  pure  for  its  period.  But  compare  it  with  the 
mosaic  of  the  same  subject  in  the  Baptistery  at  St. 
Mark's  ! 

284.  Bonifazio  1.  (Morelli  says  II. — critics  are  much 
divided  on  all  these  attributions).  Christ  enthroned,  a 
magistracy  picture,  one  of  several  in  this  room,  from  the 
office  of  the  Entrate  (Customs).  Extreme  R.,  St.  Mark 
with  his  lion,  representing  Venice  ;  extreme  L.,  St.  Justina 
with  her  unicorn,  (symbol  of  chastity,)  representing  Padua. 
Below  the  Christ,  three  kneeling  saints,  probably  (almost 
certainly)  the  name-saints  of  the  magistrates,  whose  coats 
of  arms  are  painted  beside  them.  To  the  L.,  St.  Louis 
of  Toulouse,  with  the  crown  he  rejected  standing  close  by, 
and  King  David  (?)  or  Sigismund  {!) :  to  the  R.,  St.  Dominic 
in  Dominican  robes,  with  the  lily.  Christ  holds  an  open 
book,  with  an  inscription  enjoining  on  the  magistrates  to 
act  with  justice.  This  a  very  characteristic  magistracy 
picture. 

Skied  above  these  three  last,  and  along  the  whole  wall, 
are  several  admirable  figures  of  saints,  in  pairs  and 
threes,  which  consideration  of  space  compels  me  to  omit, 
and  the  grouping  of  which  will  now  be  tolerably  compre- 
hensible to  the  reader.  The  names  on  the  frames  must 
suffice  at  this  stage  of  your  knowledge.  They  are  all 
magistracy  pictures,  and  they  usually  bear  the  coats  of 
arms  of  the  donors,  which,  with  the  saints,  give  their 
Christian  names  and  surnames.  Many  of  them  are  very 
fine  pieces  of  colour,  and  all  are  good  solid  workmanlike 
paintings.  Especially  good  is  277,  St.  Matthew  and  St. 
Oswald — an  English  saint,  rare  in  Italy. 

287.  Bonifazio  II.  Adoration  of  the  Magi  ;  another 
tolerable  work,  which  may  be  compared  with  the  previous 
one.  Note  the  cavalcade  of  the  Magi  to  the  R.,  as  well 
as  the  arms  of  the  donors.  The  evolution  of  the  later 
Madonna  and  Child  from  the  earlier  type  is  an  interesting 


VI.]  THE  ACADEMY  169 

subject  of  study.  Compare  this  backwards  with  the  Titians, 
Cimas,  Bellinis,  Vivarinis. 

*29i.  Bonifazio  I.  His  masterpiece,  and  one  of  the 
finest  pictures  in  this  room.  Lazarus  and  Dives  ;  in  reaHty 
a  goire  picture  of  a  splendid  lordly  entertainment.  Dives 
bears  some  resemblance  to  Henry  VIII.  of  England,  who 
is  said  to  be  represented  in  his  person.  He  sits  at  table, 
richly  clad,  between  two  courtesans,  handsome  and  regally- 
robed  Venetian  ladies.  The  one  to  the  R.  listens  to  music, 
in  a  pensive  attitude  somewhat  suggestive  of  regret  for 
lost  days  of  innocence.  The  musicians,  and  the  page  who 
holds  the  book  of  music,  deserve  close  attention.  To  the 
extreme  R.,  Lazarus  begs,  and  dogs  lick  his  sores  ;  but 
his  introduction  is  just  a  bit  of  make-believe,  to  justify  the 
central  motive  of  the  picture.  Art  was  long  before  it 
could  get  over  the  superstition  that  every  work  must  at 
least  pretend  to  a  sacred  subject.  Note  the  large  archi- 
tecture and  the  expansive  sense  of  space  in  this  and  other 
late  Venetian  pictures.  Also,  the  domestic  episodes  in 
the  background.  The  lordly  style  of  art  in  the  Venice 
of  the  1 6th  century,  proper  to  a  great  commercial  city, 
may  be  very  well  compared  with  the  similar  development 
of  Flemish  art  in  Rubens  and  his  contemporaries,  when 
Antwerp  had  taken  the  place  of  Venice.  But  this  glowing 
work  is  also  remarkable  for  its  rare  and  high  poetical  ima- 
gination. 

295.  Bomfazio  I.  The  Judgment  of  Solomon  ;  an  ex- 
cellent (Magistracy)  picture,  which  needs  little  comment. 
It  enjoins  Justice. 

In  the  cor-fier  are  several  excellent  portraits. 

End  wali, 

302.  Palma  Vecchio.  St.  Peter  enthroned,  with  othei 
saints.  R.,  Paul,  Justina  of  Padua,  Augustine  (more  proba- 
bly, St.  Tiziano  of  Oderzo,  whence  the  picture  comes:) 
L.,  John  the  Baptist,  Mark,  and  perhaps  Catharine  ;  in  the 
absence  of  definite  symbols  these  later  saints  are  often 
difficult  to  determine.     Spoilt  by  repainting. 

Beyond  it,  several  excellent  pictures.     After  the  apse, 


1 70  THE  ACADEMY  [vi. 

308.  Bonijazio  II.  Adoration  of  the  Magi ;  Our  Lady 
sits  between  St.  Mark  and  a  sainted  bishop,  whose  fleurs- 
de-Iys  show  him  to  be  almost  certainly  St.  Louis  of  Tou- 
louse.    Doubtless  the  donor  was  named  Alvise. 

310.  Palma  Vecchio.  Christ  and  the  daughter  of  the 
Canaanitish  Woman.  The  personages  have  ample  figures, 
and  serene  faces  :  possibly  portraits.     Above  it, 

309.  Bonifazio  I.  Christ  and  St.  Philip  ;  "  Philip,  he 
that  hath  seen  me,"  etc.  A  fine  picture,  very  modern  in 
conception. 

315.  Palma  Vecchio.  Assumption.  It  is  worthy  of  notice 
in  this  picture  that  the  Glory  surrounding  Our  Lady  still 
retains  some  faint  memory  of  the  old  form  of  the  mandorla. 
Not  a  first-rate  specimen  of  its  artist  :  probably  an  early 
work.  Altar-piece  of  the  suppressed  church  of  Santa  Maria 
Maggiore. 

318.  Bo7iifazio  I.     St.  Mark. 

*400.  Titian  (his  last  work).  Deposition  from  the  Cross  ; 
Our  Lady  sustains  the  dead  Christ  ;  Joseph  of  Arimathea, 
R.  ;  Mary  Magdalen  with  pot  of  ointment,  L.  A  noble 
and  pathetic  picture,  which  calls,  however,  for  appreciation, 
not  explanation.  Titian  painted  it  in  his  99th  year,  but 
died  before  it  was  finished  :  Palma  the  younger  finished  it. 
It  has  been  much  injured  by  repainting.  There  is  more 
real  feeling  in  it  than  Titian  often  shows. 

314,   Titia7t.     St,  John  the  Baptist.     Unworthy  of  him. 

319.  Bonifazio  I.  Massacre  of  the  Innocents  ;  a  good 
picture  of  this  odious  subject  ;  but  the  voluptuous  figures 
and  expressionless  faces  of  the  women  wholly  detract  from 
the  feeble  attempt  at  pathos.  A  heartless  work.  Bonifazio 
thinks  most  of  his  choice  of  models  and  of  his  mode  of 
posing  them,  very  little  of  the  horror  and  terror  of  the 
moment.     Fine  colour  wasted. 

**320.  Paris  Bordone.  The  Doge  and  the  Fisherman  ; 
by  far  the  most  magnificent  work  of  this  painter.  Before 
examining  it,  sit  down  and  read  the  following  account  of 
its  legendary  subject : — 

[On  February  25th,  1394,  (others  say,  1345,)  owing  to  the 


VI.]  THE  ACADEMY  I7I 

wickedness  of  a  schoolmaster  who  committed  suicide  after 
selling  himself  to  the  devil,  Venice  was  visited  by  a  memor- 
able tempest.  While  it  raged,  an  aged  fisherman  made 
fast  his  boat  to  the  Molo  near  St.  Mark's.  As  he  lay 
there,  a  grave  old  man  came  out  of  the  church,  accosted 
him,  and  offered  him  a  large  sum  to  be  ferried  over  to 
San  Giorgio  Maggiore.  The  fisherman,  after  hesitating, 
on  account  of  the  high  waves,  accepted,  and  rowed  him 
across.  There,  the  stranger  went  in,  and  fetched  out  a 
young  man  of  knightly  aspect,  who  joined  them  ;  the  two 
then  asked  to  be  carried  across  to  San  Niccolo  di  Lido, 
outside,  near  the  mouth  of  the  harbour.  After  protest, 
the  fisherman  yielded,  and  rowed  them  with  difficulty.  At 
San  Niccolo,  both  strangers  landed,  and  returned  with  a 
third  person,  a  venerable  old  man  ;  whereupon  they  de- 
manded to  be  rowed  between  the  forts  which  protected  the 
harbour  mouth  into  the  open  sea.  When  they  reached 
the  Adriatic,  the  fisherman  beheld  a  boat  manned  by  devils, 
which  was  coming  with  all  speed  to  destroy  Venice.  The 
three  strangers  made  the  sign  of  the  cross  ;  whereupon, 
the  devils  disappeared,  and  the  storm  ceased.  At  that,  they 
rowed  back,  each  to  the  place  where  he  had  embarked  ; 
and  the  grave  old  man,  who  landed  last  at  San  Marco, 
being  asked  for  the  promised  reward,  made  answer  that 
he  was  the  blessed  Evangelist  St.  Mark,  patron  of  Venice- 
and  that  the  Doge  himself  would  recompense  the  boatman. 
The  other  two  passengers,  he  said,  were  the  holy  martyr 
St.  George  and  the  blessed  bishop  St.  Nicholas  ;  (in  order 
to  understand  the  story  it  is  necessary  to  remember  that 
the  bodies  or  reHcs  of  all  three  of  these  saints  were  pre- 
served at  Venice,  in  these  three  churches.)  The  fisherman 
demurred,  and  pressed  for  payment ;  but  St.  Mark,  taking 
his  ring  from  his  finger,  handed  it  to  the  man,  bidding  him 
show  the  Doge  that,  and  ask  for  the  promised  money.  The 
fisherman  took  it,  and  presented  himself  before  the  Doge 
next  morning  with  the  ring.  The  Procurators  of  St.  Mark, 
looking  for  the  ring,  which  was  kept  locked  up  in  the 
sanctuary,  found   it   missing,   though   the   triple   lock   had 


172  THE  ACADEMY  [vi. 

not  been  tampered  with.  Thereupon  they  knew  that  this 
was  a  great  miracle.  The  fisherman  received  a  pension 
for  life,  and  a  Mass  was  solemnly  said  in  St.  Mark's  in 
gratitude  for  the  averted  danger.] 

Now,  turn  to  the  picture.  Bordone  envisages  the  scene 
as  a  great  Venetian  state  ceremonial.  To  the  R.,  the 
majestic  Doge  sits  enthroned,  in  his  cap  and  robe  of  office, 
under  a  noble  (imaginary)  loggia,  amid  magnificent  Renais- 
sance architecture.  On  high  seats  by  his  side,  and  with 
splendid  carpets  spread  beneath  their  feet,  we  see  ranged 
the  dignified  senators,  splendid  portraits  of  stately  Venetian 
aristocrats,  in  gorgeous  robes  gloriously  painted.  The 
fisherman,  escorted  by  a  chamberlain,  mounts  the  steps 
in  his  simple  garments,  with  his  limbs  bare,  and  humbly 
presents  to  the  Most  Serene  Prince  the  ring  which  is  to 
prove  the  truth  of  his  story.  At  the  foot  of  the  steps  bows 
a  second  chamberlain.  Behind  stand  a  group  of  Venetian 
gentlemen.  In  the  foreground,  the  fisherman's  boy,  a  grace- 
ful and  beautiful  figure,  lounges  carelessly  on  the  steps  near 
his  father's  gondola.  The  background  consists  of  magnifi- 
cent ideal  architecture,  suggested  by  that  of  Sansovino's 
Libreria  Vecchia.  Every  detail  of  this  luminous  and 
gracious  work,  the  finest  ceremonial  picture  ever  painted, 
should  be  closely  observed  and  noted  ;  it  has  poetry  and 
romance  as  well  as  dignity  and  splendour.  The  decorative 
detail  of  the  marble  and  tiles,  and  of  the  recesses  behind 
the  Doge's  chair,  is  alone  worth  much  study.  The  manage- 
ment of  light  and  shade,  by  which  the  Doge's  figure  stands 
out  so  conspicuously  against  a  dark  ground,  is  very  masterly. 
This  fine  work,  representing  so  great  and  so  late  a  miracle 
of  St.  Mark,  was  painted  as  one  of  the  decorations  for  the 
Scuola  di  San  Marco,  which  we  shall  visit  later.  (So,  you 
will  remember,  were  Tintoretto's  St.  Mark  rescuing  a 
tortured  slave,  and  several  others  in  this  collection.  Piece 
together  your  knowledge.) 
After  this  feast  of  glory,  it  is  a  sad  falling  off  to  look  at 
322.  Paradise,  by  the  same  painter, — a  picture  in  type 
like  one  we  have  seen  before,  representing,  at  the  top,  the 


VI.]  THE  ACADEMY  173 

Coronation  of  the  Virgin,  and  below,  a  confused  assemblage 
of  all  the  saints,  many  of  them  recognisable  by  their 
symbols.  It  was  painted,  as  is  usual  with  this  class  of 
subject,  for  a  church  of  Ogni  Santi  (at  Treviso).  An 
unpleasant,  turbid,  crude-toned  picture. 

321.  Pordenone.  A  Madonna  della  Misericordia,  with 
little  angels  supporting  her  mantle,  which  falls  over  two 
beatified  Carmelite  Fathers  and  a  group  of  Votaries  of  the 
Society  of  Carmel,  (the  Ottobon  family,  donors  of  the 
picture.)  This  is  a  somewhat  unsuccessful  and  artificial 
attempt  to  adapt  the  old  idea  of  Our  Lady  sheltering 
devotees  under  her  cloak,  to  the  conceptions  of  art  in  the 
great  period. 

*3i6.  Pordenone.  His  masterpiece  ;  altar-piece  of  San 
Lorenzo  Giustiniani.  In  the  centre  the  sainted  bishop,  first 
Patriarch  of  Venice  (see  No.  570  in  Room  XV.),  stands 
under  a  characteristic  Venetian  chapel  (like  those  of  St. 
Mark's)  attended  by  two  acolytes  in  blue  caps  like  his  own. 
His  features  are  finely  ascetic — they  suggest  Cardinal 
Manning's.  In  the  foreground  are  Franciscan  saints  ;  St. 
Francis,  kneeling ;  St.  Louis  of  Toulouse,  erect,  in  bishop's 
robes  and  mitre,  surmounted  by  a  Franciscan  cowl  (so  that 
there  may  be  no  mistake  about  him)  ;  and  the  familiar 
earnest  saintly  face  of  St.  Bernardino  of  Siena.  To  the 
R.,  a  huge  St.  John  the  Baptist  (with  his  symbol,  the  Lamb 
of  God)  occupies  a  little  too  much  of  the  picture.  His 
anatomy  is  good,  but  he  is  positively  gigantic.  (Such  dis- 
proportion is  frequent  with  Pordenone.)  This  excellent 
if  somewhat  frigid  work  was  an  altar-piece  on  the  altar 
of  the  saint  in  the  Franciscan  church  of  the  Madonna  dell' 
Orto.  It  is  an  admirable  picture  of  its  kind,  aiming  hard 
at  an  arrangement  of  the  saints  in  natural  attitudes.  San 
Lorenzo's  face  is  admirably  reproduced  from  earlier  por- 
traits. If  once  the  names  and  grouping  of  the  characters 
are  thoroughly  understood,  I  do  not  think  this  fine  com- 
position is  open  to  the  criticisms  often  brought  against 
it  by  those  who  misconceive  its  meaning. 

328.  SavoldOy    a    Brescian    artist,    whose    works    often 


1/4  THE   ACADEMY  [vi. 

strangely  suggest  quite  modern  painting.  The  two  great 
Anchorites  of  the  Theban  desert,  St.  Antony  Abbot  and 
St.  Paul  the  Hermit. 

The  end  wall  has  two  good  single  saints,  by  Moreito, 
331  and  332,  *Peter  and  John  the  Baptist  ;  and  a  Rocco 
Marconi,  334,  Christ  and  the  Woman  taken  in  Adultery ; 
works  requiring  little  comment. 

The  Long  Corridor  beyond  this,  known  as  the  Loggia 
Palladiano,  (because  occupying  part  of  Palladio's  building,) 
contains  chiefly  modern  works,  or  those  of  the  17th  and 
1 8th  centuries,  to  which,  unless  your  time  is  unlimited,  you 
need  not  devote  much  attention.  Among  them  are  several 
good  Dutch  landscapes  and  poultry-pieces,  by  Hondekoeter, 
Fyt,  and  others,  excellent  in  their  way,  but  out  of  tone 
with  Venice,  and  needing  no  comment. 

The  rooms  to  tlie  R.  of  this  Corridor  have  works  by 
the  Bassani  and  their  successors,  most  of  which  are  also 
of  relatively  little  importance,  though  they  afford  materials 
for  gauging  the  slow  decline  of  Venetian  art.  They  may 
likewise  be  left  to  the  reader's  own  consideration. 

The  Corridor  beyond,  Branch  /.,  contains  a  single  once- 
famous  picture,  516, — a  huge  murky  canvas,  long  attributed 
to  Giorgione,  (it  may  once  have  been  his  in  outline,)  and 
still  of  much-debated  authorship.  It  is  at  present  officially 
set  down  to  Palma  Vecchio,  (to  whom  Vasari  attributed  it  :) 
but  has  been  so  much  restored  and  muddled  about  by 
patchers  that  it  is  now  of  no  artistic  value.  It  represents 
the  Storm  at  Sea  already  referred  to  in  connection  with 
Paris  Bordone's  magnificent  picture  of  the  Doge  and  the 
Fisherman.  (Some  authorities  even  attribute  it  to  Bordone.) 
The  shipload  of  devils  are  on  their  way  to  overwhelm 
Venice,  some  of  them  being  detached  in  small  boats,  or 
riding  very  dubious  and  grotesque  sea-monsters.  To  the 
R.,  a  little  in  the  background,  ill-descried,  and  without  their 
proper  prominence  in  the  composition,  are  the  fisherman 
and  his  boatload  of  Venetian  patrons — St.  Mark,  St.  George, 
and  St.  Nicholas.  The  saints  are  peculiarly  unimpressive. 
Though  this  picture  now  possesses  very  little  interest  as  a 


VI.]  THE   ACADEMY  175 

work  of  art,  (and  can  never  have  been  first-rate,)  it  deserves 
to  be  looked  at  for  its  connection  with  the  famous  and 
glorious  Bordone,  to  which  it  was  a  pendent.  It  comes, 
like  that  great  work,  from  the  Scuola  di  San  Marco. 

The  Corridor  beyond  this  again,  Branch  II.,  contains 
unimportant  canvases  of  the  Decadence,  when  the  mannerism 
of  later  Venetian  art  had  wholly  destroyed  its  beauty  and 
spontaneity.  The  windows  here  afford  a  good  view  of  the 
Inner  Court  of  the  Caritk,  and,  to  the  L.,  of  Palladio's  New 
Building. 

Return  often  to  the  Academy,  and  remember  always  that 
many  admirable  pictures  are  omitted  here  for  want  of  space. 
Those  who  desire  more  information  about  all  these  works 
can  use  Karl  Kdroly's  excellent  Guide  to  The  Pictures  of 
Venice,  which  gives  a  bewildering  variety  of  discordant 
opinions  about  each  work  from  all  the  recognised  critical 
authorities. 


VII 

THE   DOGE'S   PALACE 

Interior 

aN  1419,  Gentile  da  Fabriano  and  Vittore  Pisano,  two 
of  the  greatest  artists  of  their  age,  were  invited  to 
Venice  by  the  signory  in  order  to  decorate  the  interior  of 
the  Doge's  Palace,  at  an  age  when  native  artistic  talent  was 
still  deficient  in  the  lagoons.  They  must  no  doubt  have 
produced  some  of  their  finest  works  in  this  building.  At 
the  close  of  the  15th  century,  again,  when  the  great  native 
school  of  the  Bellini  had  developed  its  peculiar  local  excel- 
lences, the  chief  painters  of  that  golden  age  were  further 
commissioned  to  adorn  with  paintings  the  new  portions  of 
the  Palace,  recently  completed.  We  cannot  doubt  that 
many  of  the  noblest  creations  of  Giovanni  and  Gentile 
Bellini,  Cima,  Catena,  Bissolo,  and  their  contemporaries 
were  painted  for  this  purpose  ;  while  some  of  Titian's  most 
splendid  works  also  decorated  the  walls  of  the  state  apart- 
ments. Unfortunately,  however,  almost  all  these  once 
famous  masterpieces  perished  in  the  terrible  fire  of  1574, 
while  the  later  fire  of  1577  destroyed  the  remainder.  We 
are  thus  left,  both  here  and  elsewhere,  with  mere  scattered 
fragments  of  the  artistic  works  produced  by  the  finest  age 
of  Venetian  painting. 

After  the  great  fires,  however,  the  halls  were  restored 
with  fitting  magnificence,  and  decorated  anew  with  a  series 
of  sumptuous  paintings,  mainly  by  Tintoretto,  Paolo 
Veronese,  and  Palma  the  younger,  who  are  here  seen 
to  the  best  advantage.     These  works  are  too  numerous  (and 

often  too  similar)  for  description  in  full,  while  many  of  them, 

17a 


VII.]  THE  DOGE'S   PALACE  177 

being  classical  in  subject  or  presenting  slight  variants  on 
now  familiar  themes,  require  comparatively  little  explana- 
tion. Hand-catalogues  are  also  supplied  by  the  authorities 
in  all  the  rooms,  and  by  their  aid  the  visitor  can  identify  for 
himself  the  various  subjects.  I  therefore  limit  myself  for 
the  most  part  in  this  book  to  describing  the  following  three 
sets  of  compositions  : — 

(i)  The  great  masterpieces  ; 

(2)  The  pictures  specially  requiring  explanation  ;  and, 

(3)  Those  which  call  for  brief  notes  on  peculiar  variants 
of  the  customary  themes. 

Many  of  the  pictures,  however,  which  I  do  not  notice  are 
thoroughly  deserving  of  attentive  study  by  those  whose  time 
suffices  for  the  purpose. 

Remember  that  the  pictures  in  the  Doge's  Palace  thus 
represent  only  the  last  great  age  of  Venetian  painting.] 

The  Palace  is  open  daily  rom  9  to  3  ;  admission,  i  '30  c. 
per  person.  It  is  also  open  f7-ee  on  Sundays  and  public 
holidays,  from  10  to  2  ;  but  as  the  order  in  which  the  rooms 
must  be  visited  is  then  altered,  and  no  hand- catalogues  are 
supplied,  I  do  not  advise  you  to  see  it  on  a  free  day.  Pay  like 
a  man,  and  see  the  pictures  properly  in  the  right  succession. 

The  entrance  is  at  the  top  of  the  Scala  dei  Cigantij 
tickets  are  taken  in  the  loggia  on  the  first  floor.  Thence 
you  mount  the  steps,  and  pass  above  the  Principal  Floor  to 
the  highest  story,  which  (owing  to  the  peculiar  construction 
of  the  lower  ranges)  contains  most  of  the  chief  reception 
rooms  of  the  Palace.  (The  lower  floors  are  mainly  occupied 
by  the  loggie  :  no  doubt  the  jealous  Venetian  oligarchy  pur- 
posely raised  itself  to  this  safe  height  above  popular  spying.) 
We  ascend  on  week-days  by  the  Scala  d'Oro^  or  Golden 
Stairs,  so  called  from  its  gilt  and  painted  ceiling  :  erected 
by  Sansovino,  1556.  Up  this  staircase,  in  the  days  of  the 
Republic,  only  those  nobles  whose  names  were  written  in 
the  Libro  d'Oro  were  permitted  to  pass. 

At  the  top  of  the  steps  we  enter  first  a  little  ante-room 
known  as  the 

G.  V.  M 


178  THE   DOGE'S   PALACE  [vil. 

Atrio  Quadrato, 
which  is  practically  the  main  vestibule  of  the  Palace.  Its 
walls  are  hung  with  good  portraits  of  senators,  by  Tintoretto. 
The  ceiling,  also  by  Tintoretto,  represents  Doge  Lorenzo 
Priuli  receiving  the  sword  of  office  from  the  hands  of  Justice. 
Above,  in  clouds,  St.  Mark  is  enthroned  as  representative  of 
Venice  ;  below,  in  presence  of  the  personified,  crowned  and 
seated  Venezia,  Justice,  holding  her  balance,  presents  the 
sword  to  the  aged  Doge,  who  wears  his  richly-jewelled  robe 
and  cap  of  office. 
A  door  to  the  L.  admits  to  the 

Sala  delle  Quattro  Porte, 

so  called  from  its  four  entrances.  This  was  the  hall  through 
which  ambassadors  to  the  Republic  were  conducted  to  the 
waiting-room.  On  the  entrance  wall,  in  the  centre,  is  a 
famous  picture  by  Titian,  known  as  the  *Fede  ;  all  these 
pictures,  however,  though  commonly  called  by  such  sacred 
names,  are  best  treated  z.s  portraits  of  Doges,  represented  in 
the  act  of  adoring  some  saint  or  Madonna.  The  Doge  in 
this  instance  is  Antonio  Grimani,  (1521-23  :)  he  kneels,  in 
armour,  covered  by  a  rich  robe,  on  a  footstool.  He  has 
removed  his  cap  of  office,  but  retains  the  ugly  white  linen 
skull-cap  beneath  it.  A  page  by  his  side  holds  the  jewelled 
ducal  crown.  To  the  R.  are  halberdiers  in  attendance, 
beside  a  rich  red  curtain.  The  figure  before  which  Grimani 
kneels  is  not  a  saint,  but  a  personification  ot  Faith,  holding 
the  cross  and  cup,  and  surrounded  by  a  luminous  glory  of 
cherubs.  Faith  is  very  theatrical,  almost  vulgar  :  she  fore- 
shadows the  rococo.  To  the  L.,  St.  Mark  with  his  lion 
represents  Venice;  the  town  itself,  as  it  existed  in  Grimani's 
time,  is  seen  in  the  background.  This  is  the  whole  of 
Titian's  picture,  painted  for  another  apartment  :  having 
been  removed  later  to  this  room,  and  to  a  wall  too  large 
for  it,  the  additional  figures  at  either  end  were  added  by 
his  nephew,  Marco  Vecelli.  The  whole  work  is  a  fine, 
brilliantly-coloured,  vigorous,  unpoetic  picture. 

R.  of  the  door.  Doge  Marino  Grimani  kneeling  before  the 


VII.]  THE   DOGE'S   PALACE  T79 

Virgin  and  Child,  by  Giovanni  Contarini,  a  pupil  of  Titian's. 
St.  Mark  directs  the  Doge's  gaze  to  Our  Lady  and  the 
Child  ;  on  the  R.  is  St.  Sebastian  ;  in  the  centre  back- 
ground, Grimani's  personal  patron,  Santa  Marina. 

The  corresponding  picture  to  the  L.  represents  the  re-con- 
quest of  Verona  by  Venice  from  the  Duke  of  Milan,  in  1439, 
also  by  Contarini  :  feeble. 

The  wall  opposite  this  is  covered  by  three  canvases  of 
less  artistic  interest,  representing  Venice  as  the  host  and 
arbiter  of  foreign  nations.  L.,  the  Ambassadors  of  Nurem- 
berg accept  the  arbitration  of  the  Doge  and  senate  on 
their  law  of  apprenticeship,  by  Gabriele  Caliari. 

Centre,  Henry  III.  of  France  is  hospitably  received  in 
state  at  Venice,  by  Andrea  Vicentino  :  the  picture  shows 
the  triumphal  arch  erected  for  the  occasion. 

R.,  the  Persian  ambassadors  bring  presents  of  rich 
oriental  fabrics  from  the  Shah  to  Doge  Marino  Grimani, 
in  1603,  by  Carletto  Caliari. 

The  ceiling  is  painted  by  Tintoretto,  but  has  been  ruined 
by  repainting.  Its  cetitral  panel  represents  Jupiter  bestow- 
ing on  Venice  the  sovereignty  of  the  sea  ;  in  the  back- 
ground a  riotous  chorus  of  gods.  Note  the  appearance 
here  of  pagan  mythology. 

The  door  opposite  to  that  by  which  you  entered  leads  to 
the 

Antecollegio, 

with  a  florid  late  Renaissance  mantelpiece.  Here  am- 
bassadors sat  to  await  their  audience.  This  room  is 
chiefly  decorated  with  mythological  pictures,  representing 
the  wealth,  power,  and  arts  of  later  Venice. 

L.  of  the  door  by  which  you  enter,  Tintoretto,  *Mer- 
cury  with  the  Graces,  —  the  commerce  and  civilization  of 
Venice  ;  noble  specimens  of  nude  figures,  admirably  ren- 
dered. 

Opposite  this  **Bacchus  and  Ariadne,  also  by  Tintoretto. 
Ariadne,  deserted  in  Naxos  by  Theseus,  is  discovered  by 
Bacchus,  wreathed  in  vine  leaves  :  Venus  crowns  her  with 
the  stars  of  her   constellation.     A   beautiful  picture,  with 


l8o  THE   DOGE'S   PALACE  [vil. 

exquisitely  blended  colours,  full  of  poetry,  of  fancy,  and  of 
fleet  movement. 

Beyond  the  door,  *Minerva  repelling  Mars,  by  Tintoretto 
— wise  counsel  saves  Venice  from  war :  to  the  L.,  Peace 
brings  plenty  to  Venice. 

Wall  opposite  the  windows,  Paolo  Veronese,  *Europa 
carried  off  by  Jupiter,  in  the  guise  of  a  bull ;  one  of  Paolo's 
most  famous  and  beautiful  pictures,  yet  with  germs  of  deca- 
dence. 

The  dark  canvas  beside  this  last  represents  Jacob's 
return  from  Laban,  by  Leandro  Bassano.  These  two 
pictures  were  not  painted  for  the  places  they  occupy :  in- 
trusive works. 

Between  this  and  the  door  of  entrance,  the  Forge  of 
Vulcan,  by  Tintoretto,  representing  the  handicrafts  of 
Venice  :  murky  and  gloomy. 

The  next  door  leads  to  the 

Sala  del  Collegio. 

This  was  the  hall  in  which  ambassadors  were  received  by 
the  Doge,  sitting  on  a  throne  of  state  on  the  dais  at  its 
further  end  :  beside  him  sat  the  signory. 

Over  the  door  of  entrance,  Tintoretto,  *portrait  of  Doge 
Andrea  Gritti.  To  the  L.  stands  the  Doge,  in  his  cap  and 
robe  of  office,  admirably  painted.  At  his  feet,  angels  typifj 
peace  and  plenty.  St.  Mark,  holding  his  Gospel,  directs  the 
Doge's  look  towards  the  Virgin.  On  a  high  throne  to  the 
R.  sits  Our  Lady  with  the  Child,  a  graceful  and  gracious 
figure.  Around  her  spreads  a  luminous  halo  of  cherubs, 
still  slightly  mandorla-shaped.  On  the  R.  are  Franciscan 
saints,  (representative  of  the  order  which  Gritti  specially 
affected,)  St.  Bernardino  of  Siena,  with  his  glowing  I.H.S., 
and  St.  Louis  of  Toulouse.  The  centre  of  the  picture  is 
occupied  by  a  youthful  martyr,  probably  St.  Marina,  bearing 
a  palm,  and  presenting  one  of  the  Doge's  children  to  Our 
Lady.     (Padua  was  taken  on  St.  Marina's  day.) 

Over  the  door  to  the  L.  of  this,  Tintoretto,  commonly 
though  absurdly  known  as  the  "Marriage  of  St.  Catherine"; 


VII.]  THE  DOGE'S  PALACE  l8l 

*portrait  of  Doge  Francesco  Donato,  who  is  presented  by 
St.  Mark,  bearing  his  Gospel.  Behind  him,  angels  (or 
rather  virtues,  Prudence  and  Temperance)  bearing  plenty 
to  Venice.  Below,  the  Doge's  personal  patron,  St.  Francis. 
The  L.  of  the  picture  is  occupied  by  Our  Lady  and  the 
Child,  the  latter  in  the  act  of  placing  a  ring  on  the  finger 
of  *St.  Catharine  of  Alexandria,  crowned  and  holding  her 
wheel.  The  Doge  thus  shows  his  devotion  to  Our  Lady 
and  to  the  patron  saint  of  the  Venetian  territory.  Back- 
ground of  the  lagoon. 

The  centre  of  the  wall  is  occupied  by  another  Tintoretto, 
Doge  Nicolo  da  Ponte  kneeling  before  Our  Lady.  The 
Doge  is  introduced,  as  usual,  by  his  official  patron,  St. 
Mark.  Beside  him  stands  Nicolo's  personal  patron.  Saint 
Nicolas,  over  whose  head  angels  hold  the  bishop's  mitre. 
The  Most  Serene  Prince  is  engaged  in  adoring  a  heavenly 
group  composed  of  *Our  Lady  and  the  Child,  (one  of  Tinto- 
retto's most  charming  Madonnas,)  St.  Antony  with  his 
crutch  and  bell,  and  St.  Joseph.  In  the  background, 
Venice.  All  these  pictures  are  very  characteristic  portraits 
of  Doges  with  the  special  objects  of  their  adoration.  We 
have  now  travelled  a  far  cry  indeed  from  the  primitive  little 
figure  of  the  kneeling  donor,  so  common  in  early  Venetian 
altar-pieces. 

The  rest  of  this  wall  is  filled  by  a  Tintoretto  :  portrait  of 
Doge  Alvise  Mocenigo  adoring  the  Saviour,  who  appears 
in  clouds  of  luminous  glory  to  the  L.  of  the  picture.  Beneath 
him,  an  angel.  St.  Mark  introduces  the  kneeling  Doge. 
The  right-hand  side  of  the  picture  is  occupied  by  two 
brothers  of  the  Doge,  in  prayer,  with  their  patrons,  St. 
Nicolas  and  St.  Andrew.  Behind  them  are  St.  John  the 
Baptist  and  St.  Louis  of  Toulouse,  (Doge  Alvise's  personal 
patron,)  with  a  long  perspective  of  the  Libreria  Vecchia  and 
the  Campanile. 

Over  the  throne,  which  occupies  the  centre  of  the  dais, 
^portrait  of  Doge  Sebastiano  Venier,  rendering  thanks  to 
the  Saviour  for  the  victory  of  Lepanto,  (in  which  he  took 
part,)  by  Paolo  Veronese.     The   Doge  is  introduced  by  St. 


l82  THE   DOGE'S   PALACE  [VII. 

Mark  and  (I  think)  St.  Justina  of  Padua  (on  whose  day  the 
battle  was  fought).  Behind  him,  another  saint,  perhaps  St. 
Catharine,  holds  his  ducal  crown  ;  pages  support  his  robe 
and  helmet.  To  the  L.  kneels  Faith,  with  the  symbolical 
cup.  Beyond  her,  we  catch  a  glimpse  of  the  battle  of 
Lepanto,  which  is  here  votively  commemorated.  Behind  the 
Doge  stands  the  heroic  Agostino  Barbarigo,  the  real  con- 
queror, (killed  in  the  battle,)  holding  the  consecrated  banner 
of  St.  George.  In  clouds,  we  see  the  Saviour,  bearing  the 
crystal  globe,  giving  his  benediction,  and  visibly  ordering 
the  aftairs  of  the  universe.  The  figures  in  painted  niches  at 
the  sides  are  the  Doge's  two  patrons,  St.  Justina  (his  lucky 
day)  and  St.  Sebastian  (his  name-saint). 

The  rich  ceiling  is  entirely  painted  by  Paolo  Veronese. 
In  its  centre  oval  is  Faith  ;  over  the  dais,  *Venice  enthroned 
on  a  globe,  attended  by  Peace  and  Justice. 

Renaissance  mantelpiece. 

The  door  here  gives  access  to  the 


Sala  del  Senato. 


still  fitted  up  with  the  Doge's  throne,  stalls  for  the  Procura- 
tors, and  the  seat  of  the  Senators.  Its  decorations,  less 
rich,  are  mainly  by  Palma  the  younger 

End  wall,  opposite  the  throne,  "^portraits  ot  Doges 
Lorenzo  and  Girolamo  Priuli,  brothers  who  successively 
held  the  dukedom,  by  Palma  the  younger.  To  the  R.  kneels 
Girolamo,  attended  by  his  namesake  St.  Jerome,  with  his 
lion  and  his  translation  of  the  Vulgate.  To  the  L.  is 
Lorenzo,  with  his  namesake  St.  Lawrence.  (The  tomb  of 
these  two  Doges,  similarly  attended  by  their  two  patrons, 
covers  a  wall  in  San  Salvatore,  and  may  be  profitably 
visited  in  connection  with  this  picture.)  Above,  in  clouds, 
a  feeble  figure  of  Christ,  attended  by  St.  Mark  and  the 
Blessed  Virgin.  This  is  a  good  Palma,  but  far  inferior  to 
the  Tintorettos  and  Veroneses. 

Window  wall,  San  Lorenzo  Giustiniani  elected  as  first 
patriarch  of  Venice  in  145 1,  by  Titian's  nephew,  Marco 
Vecellj. 


VII.]  THE   DOGE'S   PALACE  183 

Wall  opposite  this,  to  the  L.,  portrait  of  Doge  Pietro 
Loredan  by  Tintoretto.  L.,  his  patron,  St.  Peter ;  R., 
St.  Louis  of  Toulouse.  Above,  L.,  Our  Lady,  in  clouds, 
as  the  Madonna  of  the  Immaculate  Conception,  surrounded 
with  stars,  and  without  the  Infant  :  this  new  form  of 
Virgin  was  then  the  most  popular  embodiment  of  the 
Madonna  :  R.,  St.  Mark  with  his  lion.  Background  of 
St.  Mark's,  the  Campanile,  the  Clock  Tower,  etc. 

Over  the  door,  a  picture  by  Palma  the  younger,  symbolical 
of  the  resistance  to  the  League  of  Cambrai,  formed  by  the 
European  powers  to  crush  Venice.  In  the  centre.  Doge 
Leonardo  Loredan,  crowned  by  angels.  To  the  L.,  Venice, 
with  the  lion  of  St.  Mark  and  the  sword  of  Justice,  eagerly 
attacking  Europe  on  a  bull.  Europe  bears  a  shield  blazoned 
with  the  various  arms  of  the  allied  states.  To  the  L., 
allegorical  figures  bring  corn  and  plenty  to  Venice  ;  the 
length  of  her  purse  makes  her  capable  of  withstanding 
united  Europe. 

To  the  R.  of  this.  Portrait  of  Doge  Pasquale  Cicogna,  by 
Palma  the  younger.  The  Doge  kneels  before  the  risen 
Saviour,  to  whom  he  is  introduced  by  St.  Mark,  though, 
oddly  enough,  he  is  looking  away  towards  the  allegorical 
figure  representing,  I  believe,  Crete,  and  holding  a  labyrinth 
as  symbol.  (Cicogna  had  been  governor  of  the  island.)  To 
the  R.,  Faith  ;  to  the  L.,  Peace  and  Justice,  embracing,  with 
the  olive  branch  and  scales.     Very  emblematic. 

The  last  picture  on  this  wall  is  a  portrait  of  Doge 
Francesco  Venier,  by  Palma  the  younger.  It  shows  the  last 
stage  in  the  de-Christianisation  of  these  Doges'  portraits. 
Note  that  the  Doge  stands  no  longer  before  Our  Lady  or  a 
saint,  but  before  enthroned  Venice,  to  whom  he  presents  the 
various  cities  of  which  he  has  been  governor,  typified  by 
beautiful  female  attendants.  Above,  on  the  R.,  are  St-  Mark, 
and  the  Doge's  personal  patron,  St.  Francis. 

Over  the  throne,  *portraits  of  two  Doges,  by  Tintoretto. 
To  the  L.  kneels  Doge  Marc'  Antonio  Trevisano,  accom- 
panied by  his  patron,  St.  Antony  the  Abbot,  with  his  crutch 
and  bell.     Close  by,  to  the  L.,  is  the  wounded  St.  Sebastian, 


1 84  THE   DOCKS   PALACE  [vil. 

a  precaution  against  plague.  To  the  R.  kneels  Doge  Pietro 
Lando,  accompanied  by  St.  Mark  and  by  his  own  patron, 
St.  Peter  Martyr,  near  whom  stands  his  spiritual  father,  St. 
Dominic,  with  the  lily.  The  central,  or  spiritual  portion  of 
the  picture  is  occupied  by  a  fine  Pietk,  the  dead  Christ 
supported  by  angels  :  the  St.  Mark  and  St.  John  to  the  L. 
appear  to  be  writing  their  Gospel  accounts  of  the  Cruci- 
fixion. 

Of  the  numerous  pictures  in  the  magnificent  painted 
celling,  the  most  important  is  the  central  panel,  by  Tinto- 
retto, representing  Venice  enthroned  among  the  gods  as  Queen 
of  the  Sea,  wi'^h  Tritons  and  Nereids  rising  from  below  and 
bearing  their  gifts  from  the  ocean.  Careful  examination  of 
this  fine  and  sweeping  but  confused  work  will  bring  out 
many  hidden  allegorical  meanings. 

The  door  to  the  R.  of  the  throne  gives  access  to  the 

Antichiesetta,  or  Vestibule  of  the  Doge's 
Private  Oratory. 

Of  the  pictures  which  this  small  apartment  contains,  only 
two  or  three  need  here  be  noticed.  Opposite  the  door  by 
which  you  enter,  *Tintoretto,  the  Princess  and  the  Dragon. 
This  is  clearly  an  allegorical  work,  the  meaning  of  which  I 
have  never  succeeded  in  satisfactorily  deciphering.  St. 
George,  in  armour,  has  dismounted  from  his  horse  ;  the 
Princess  is  bestriding  the  conquered  beast  ;  to  the  R.  is  a 
handsome  young  bishop,  whom  I  take  for  St.  Louis  of 
Toulouse.  The  picture  must  cover  some  political  fact  (like 
that  which  represents  the  League  of  Cambrai  ;)  but  I  must 
leave  the  solution  of  this  difficult  problem  to  the  ingenuity 
of  my  readers.  Opposite^  over  the  door  by  which  you  entered, 
two  memorial  magisterial  saints,  St.  Jerome  and  St.  Andrew, 
by  Tintoretto. 

Most  of  the  other  pictures  in  this  room  are  paintings  by 
Rizzi,  designs  for  the  mosaic  which  now  adorn  the  facade  of 
St.  Mark's.     You  will  recognise  their  subjects. 


Yll.]  THE   DOGE'S  PALACE  185 

We  enter  next  the 

Chiesetta,  or  Private  Oratory  of  the 
Doges, 

where  mass  was  said  daily  by  the  Ducal  chaplain. 

The  altar='piece  is  formed  by  a  sculptured  Madonna  and 
Child,  by  Sansovino,  in  a  Renaissance  niche,  over  which  are 
placed  the  arms  of  Doge  Pasquale  Cicogna,  a  crane,  (the 
meaning  of  his  name  in  Italian,)  with  the  ducal  cap  above  it. 
Of  the  pictures  which  it  contains  I  will  only  notice  four 
early  Madonnas,  more  or  less  of  the  school  of  Bellini,  none 
of  them  of  high  merit ;  and,  on  the  L.  wall,  near  the  altarj 
a  Pieta,  by  Paris  Bordone,  chiefly  noticeable  for  the  uncon- 
ventional and  unsymmetrical  arrangement  of  the  mourning 
angels.  Near  this  is  a  harsh  early-Renaissance  Nether- 
landish picture  (by  Mostaert  ?)  of  Christ  bound  to  the 
column. 

Return  now  through  the  Sala  del  Senato  and  the  Sala 
delle  Quattro  Porte,  and  enter,  through  a  little  anteroom, 
the 

Sala  del  Consiglio  dei  Dieci. 

The  Council  of  Ten,  the  Venetian  "  Star  Chamber,"  sat 
in  this  apartment.  It  was  armed  with  summary  adminis- 
trative-judicial powers.  The  pictures  in  this  fine  hall  are 
for  the  most  part  late  in  date  and  inferior  in  merit.  They 
represent  episodes  (more  or  less  real)  in  the  past  history 
of  Venice,  supposed  to  reflect  special  glory  upon  the 
Republic. 

Wall  of  entrance,  L.  and  F.  Bassano,  a  huge  and  some- 
what confused  canvas  representing  Pope  Alexander  III. 
coming  forth  to  meet  Doge  Sebastiano  Ziani  on  his  return 
from  his  victory  over  Frederic  Barbarossa,  in  the  war  which 
Venice  undertook  against  the  Emperor  in  defence  of  the 
fugitive  Pope.  The  Doge  in  armour,  enveloped  in  an  ample 
robe   of   state,  stands  near  the  centre  of  the   picture,    his 


1 86  THE   DOGE'S  PALACE  [vil. 

mantle  and  cap  borne  by  pages.  The  proscribed  Pope, 
under  a  portable  canopy,  welcomes  his  champion,  sur- 
rounded by  cardinals,  bishops,  and  other  ecclesiastics.  The 
Bassani,  like  other  Venetians  of  their  age,  envisage  the 
scene  as  though  it  took  place  with  the  arms  and  costume  of 
their  own  period. 

Opposite  this,  Marco  Vecelli,  (Titian's  nephew,)  the 
Peace  of  Bologna,  between  Pope  Clement  VII.  and  the 
Emperor  Charles  V.,  in  1529.  This  is  a  self-explanatory 
picture,  of  a  fine  ceremonial  character,  with  excellent  por- 
traits, and  a  stately  somewhat  formal  arrangement  of  the 
component  personages. 

The  end=wall  is  occupied  by  a  dark  and  confused 
Adoration  of  the  Magi,  by  Aliense,  a  feeble  follower  of 
Tintoretto,  who  has  sedulously  acquired  the  master's  faults 
without  his  conspicuous  merits. 

The  ceiling;  is  by  Veronese  and  his  followers,  typical  of 
the  glory  of  Venice.  The  best  compartment  is  the  one  just 
above  the  Pope  and  Emperor's  head  ;  it  represents  wealth 
showered  down  into  the  lap  of  Venice.  The  figure  of  an 
old  man,  with  his  head  on  his  chin,  (in  the  compartment 
by  the  corner  between  the  Magi  and  Pope  Alexander  III.,) 
is  by  Veronese. 

The  next  room  is  the 

Sala    della    Bussola, 

with  uninteresting  pictures,  chiefly  of  military  operations — 
taking  of  Brescia,  Bergamo,  etc.,  confused  and  unsatisfac- 
tory. The  Doge  opposite  the  windows  is  Leonardo  Donato, 
by  Marco  Vecelli. 

The  little  room  to  the  R.  of  this  last  picture  is  the 

Stanza  dei  Tre  Capi  del  Consiglio. 

These  were  the  inner  circle  of  the  Ten,  a  cabinet  within  a 
cabinet.     L.  of  the  entrance  door,  Catena,  Doge  Leonardo 


VII.]  THE   DOGE'S   PALACE  187 

Loredan  adoring  Our  Lady  ;  a  picture  of  the  earlier  type, 
where  the  Doge's  portrait  is  still  duly  subordinate  to  the 
sacred  subject  :  he  is  introduced  to  Our  Lady  by  St.  Mark, 
who  is  balanced  by  St.  John  the  Baptist  ;  a  good  picture  in 
a  hard,  dry,  early  manner. 

Next  to  it,  Bonifazio,  St.  Christopher  bearing  the  infant 
Christ,  between  St.  John  the  Baptist  and  St.  John  the 
Evangelist.  This  is  a  magistracy  picture,  bearing  the  arms 
of  the  three  donors,  whose  surnames  are  thus  indicated, 
while  their  Christian  names  are  allusively  given  by  their 
patrons. 

The  central  panel  of  the  ceiling  is  by  Veronese  ;  it  re- 
presents the  Virtues  driving  away  the  Vices. 

Return  to  the  hall  last  visited,  (della  Bussola,)  and  de- 
scend the  staircase  known  as  the  Scala  dei  Censori,  to  the 
Principal  Floor  of  the  Palace. 

The  vast  room  to  the  L.  at  the  bottom  of  this  staircase  is 
the 

Sala  del  Maggior  Consiglio, 
which  forms  the  greater  part  of  the  South  Front  of  the 
Palace.  This  immense  chamber  was  built  for  the  Council 
of  Nobles,  the  most  popular  and  sovereign  assembly  in  the 
closely  oligarchal  Venetian  constitution,  for  whose  sake 
mainly  the  existing  building  was  erected.  Every  adult  man 
whose  name  was  inscribed  in  the  Libro  d'Oro  belonged  to  it 
by  right  of  birth. 

Before  you  begin  the  examination  of  the  pictures  in  de- 
tail, look  well  first  at  the  great  hall  itself,  with  its  palatial 
decorations.  Also,  go  out  on  to  the  South  Balcotty,  which 
you  have  already  seen  from  the  outside,  both  in  order  to 
orient  yourself,  and  for  the  sake  of  the  beautiful  *view 
over  the  lagoon  and  the  island  of  San  Giorgio,  as  well  as 
the  Giudecca,  the  Salute,  and  the  tapering  point  by  the 
Dogana.     This  balcony  likewise  affords  the  best  fro?it  view 


l88  THE   DOGE'S   PALACE  [vil. 

of  the  Hon  of  St.  Mark  on  the  granite  column,  with  his 
fore  paws  placed  on  the  open  Gospel  :  well  seen  with  an 
opera-glass.  Examine  here  also  the  detail  of  the  window 
and  its  decorations. 

Re=enter  the  hall.  The  whole  of  the  end  wall  above 
the  Doge's  throne  is  entirely  occupied  by  Tintoretto's 
gigantic  picture  **Paradise,  (proudly  pointed  to  by  the 
guides  as  "  the  largest  oil-painting  in  the  world.")  It  is  a 
huge,  black,  gloomy,  and  confused  picture,  sadly  lacking 
focal  concentration,  but  containing  a  vast  number  of  ad- 
mirable single  figures,  and  full  in  parts  of  great  and  vigorous 
drawing.  A  colossal  but  uncurbed  imagination  here  runs 
riot.  I  will  only  attempt  to  give  a  very  general  conception 
of  the  immense  design.  It  is  based  upon  the  old  conventional 
type  of  Paradise,  but  utterly  altered  in  treatment  in  accord- 
ance with  Tintoretto's  own  revolutionary  conceptions.  The 
centre  of  the  tipper  portion  of  the  picture  is  occupied  by  the 
usual  figures  of  Christ  and  Our  Lady,  (with  exquisitely  ten- 
der faces,)  seen  against  a  luminous  background  of  glory  : 
beneath  their  feet  is  a  cloud-borne  floor  of  cherubs.  To  the 
L.  soars  the  flying  figure  of  the  archangel  Gabriel,  with  the 
Annunciation  lily,  close  to  Our  Lady.  To  the  R.,  the  arch- 
angel Michael  holds  the  scales  in  which  he  weighs  souls, 
close  to  the  Saviour,  who  is  thus  shown  to  be  sitting  in  His 
character  of  Judge.  These  positions  are  of  course  tradi- 
tional :  you  may  remember  them  in  the  Campo  Santo  at 
Pisa.  In  the  centre  below,  just  under  the  floor  of  cherubs, 
looms  the  third  archangel,  Raphael,  almost  nude,  and  with 
feminine  features  and  figure,  occupying  the  same  place  as 
he  always  does  in  all  pictures  of  the  Last  Judgment,  from 
Orcagna  downward.  L.  and  R.  of  Raphael,  but  supported 
on  another  floor  of  angels,  (each  floor  standing  for  a  separate 
angelic  grade,)  are  seated  the  Four  Evangelists  ;  to  the  L., 
St.  Mark  with  his  lion,  and  St.  Luke  with  his  bull ;  to  the 
R.,  St.  Matthew  with  his  angel,  and  St.  John  with  his  eagle  : 
these  four  have  very  luminous  halos,  and  each  holds  the 
book  of  his  Gospel.  The  L.  side  of  the  picture  is  mainly 
occupied  by  a  confused  tumult  of  patriarchs,  prophets,  and 


VII.]  THE   DOGE'S   PALACE  1 89 

Old  Testament  saints,  conspicuous  among  whom  are  Moses 
with  his  horns  of  light,  and  David  with  his  harp  :  near  them, 
Noah  and  Solomon.  On  the  R.  side  are  gathered  most  of 
the  greater  saints  of  Christendom,  many  of  whom  you  may 
gradually  make  out  (with  an  opera-glass)  by  means  of  their 
symbols.  Among  the  most  notable  are  the  Four  Doctors 
of  the  Church,  discriminated  by  their  larger  and  brighter 
halos.  The  remainder  of  this  saintly  and  angelic  throng  I 
must  leave  to  the  reader's  personal  intelligence,  with  the 
following  hints.  The  heavenly  hierarchy  is  represented  in 
the  picture  by  concentric  semicircles  of  seraphs,  cherubs, 
thrones,  dominations,  virtues,  and  powers.  To  the  far  L., 
below,  virgins,  including  monks  :  to  the  far  R.,  below,  mar- 
tyrs. The  fair-haired  figure  at  the  very  base,  in  the  centre, 
just  over  the  Doge's  throne,  is  said  to  represent  the  Angel 
of  Venice,  rising  from  the  waves,  and  imploring  the  assist- 
ance of  heaven  for  the  Republic.  You  must  look  long  and 
carefully  at  this  wonderful  picture,  from  many  points  of 
view,  if  you  wish  to  read  its  full  meaning.  Ruskin  has 
overpraised  it.  It  can  only  be  fully  comprehended  by 
minute  comparison  with  earlier  Paradises  elsewhere. 
Photographs  assist. 

The  other  walls  of  this  room  are  occupied,  above,  by 
mediocre  portraits  of  all  the  Doges,  in  many  cases  either 
imaginary  or  modernised  from  early  representations  ;  and, 
below,  by  two  series  of  pseudo-historical  works,  representing 
somewhat  imaginary  episodes  in  the  history  of  Venice, 
from  the  point  of  view  in  which  the  later  Venetians  desired 
to  see  them.  These  works  are  artistically  of  inferior 
merit,  and  I  will  merely  give  in  brief  the  names  of  their 
subjects  : — 

The  wall  to  the  L.  contains  the  story  of  the  war  under- 
taken by  Venice  against  Frederic  Barbarossa,  in  defence 
of  Pope  Alexander  III. 

(i.)  Beginning  just  to  the  R.  of  the  Paradise  :  School  of 
Paolo  Veronese.  The  Doge  Ziani  receives  the  fugitive  Pope 
Alexander  III.  at  the  convent  of  La  CaritL 

(2.)  School  of  Paolo   Veronese.     Venice   and   the   Pope 


I90  THE   DOGE'S   PALACE  [vil. 

send  ambassadors  to  Frederic  Barbarossa  :  the  ambassa- 
dors are  seen  departing  from  Parma  on  their  way  to  the 
Emperor's  court  at  Pavia. 

Above  a  window,  (3.)  L.  Bassano.  The  Pope  gives  the 
Doge  a  consecrated  candle. 

(4.)  Tintoretto.  The  ambassadors  before  Barbarossa, 
who  refuses  to  acknowledge  Alexander  III.  as  Pope. 

(5.)  F.  Bassano.  The  Pope  presents  the  Doge  with  a 
consecrated  sword.  The  chief  interest  of  this  crowded 
picture  lies  in  the  fact  that  it  well  and  accurately  depicts 
the  Venice  of  Bassand's  own  time,  with  groups  of  ladies  in 
the  loggia  of  the  Doge's  Palace ;  it  is  thus  useful  as  an 
historical  document,  not  for  the  age  it  pretends  to  represent, 
but  for  the  age  in  which  it  was  painted.  This  is  more  or 
less  true  of  all  the  other  pictures  in  the  series. 

Above  a  window,  (6.)  Fiammingo.  The  Doge  sets  out 
for  war,  with  the  Pope's  blessing. 

(7.)  Tintoretto  the  younger  (a  very  minor  painter  :  do  not 
confuse  him  with  his  father).  The  Battle  of  Salvore,  in 
which  the  Venetians,  after  a  fierce  struggle,  conquered  the 
Imperialists,  and  took  prisoner  the  Emperor's  son  Otho. 
As  a  matter  of  fact,  this  famous  battle  is  imaginary, — one 
of  the  pious  patriotic  frauds  of  later  Venetian  historians. 

Over  a  door,  (8.)  Andrea  Vicentino.  The  Doge  brings 
back  to  the  Pope  the  conquered  Otho. 

(9.)  Palma  the  younger.  The  Pope  sends  Otho  to  his 
father,  to  induce  him  to  recognise  Alexander's  claim  to  the 
Papacy. 

(10.)  Zucchero.  The  Emperor  Frederic  Barbarossa  kneels 
in  submission  before  the  Pope.  The  episode  is  said  to  have 
taken  place  in  the  atrium  of  St.  Mark's — a  legendary  tale 
made  much  of  in  later  Venetian  history.  Venice  as  a 
Republic  was  always  opposed  to  the  Imperial  claims,  and 
this  half  apocryphal  story  of  Barbarossa's  humiliation  is  a 
picturesque  embodiment  of  the  Guelf  theory  of  Italian  free- 
dom against  the  autocratic  pretensions  of  the  Franconian 
Emperors.  (The  adherents  of  the  Pope  were  called  Guelfs  ; 
the  adherents  of  the  Emperor,  Ghibellines.) 


VII.]  THE   DOGE'S   PALACE  19 1 

Over  a  door,  (ii.)  Gamberato.  The  Doge  escorts  the 
Pope  and  the  Emperor  to  Ancona,  on  their  way  to  Rome. 

End  wall,  (12.)  Giulio  dal  Moro.  The  Pope  presents 
consecrated  banners  to  the  Doge  in  the  church  of  St.  John 
Lateran  at  Rome. 

Though  these  works  are  of  relatively  little  interest  from 
an  artistic  point  of  view,  they  deserve  notice  as  an  embodi- 
ment of  the  same  type  of  popular  ideas  of  past  events  as 
those  represented  in  English  history  by  the  story  of  Alfred 
burning  the  cakes  or  of  Canute  and  his  courtiers.  More 
still :  they  influenced  and  coloured  thought  in  later  Venice. 

The  series  on  the  R.  wall  represents,  in  the  same  manner, 
the  popular  Venetian  story  of  the  part  borne  by  Doge  Enrico 
Dandolo  in  the  great  (4th)  Crusade,  and  in  the  conquest  of 
Constantinople. 

Begin  once  more  near  Tintoretto's  Paradise  :  — 
(i.)  Giovanni  Le  Clerc.  Doge  Enrico  Dandolo,  en- 
throned in  St.  Mark's,  concludes  an  alliance  with  the 
Crusaders  in  1201.  The  Republic  was  the  only  power 
which  could  furnish  the  necessary  ships  for  transporting 
so  large  a  body  of  men  by  sea.  It  was  thus  this  Crusade 
which  above  all  else  established  the  supremacy  of  Venice 
in  the  East. 

(2.)  Andrea  Vicentino.  The  French  and  Venetian 
Crusaders,  by  a  mean  bargain,  besiege  Zara,  on  the 
Dalmatian  coast,  on  their  way  to  the  east. 
(3.)  Tintoretto  the  younger.  The  surrender  of  Zara. 
(4.)  Andrea  Vicentino.  Alexis,  son  of  the  dethroned 
Greek  Emperor  Isaac,  asks  the  aid  of  Venice  for  his  father, 
thus  affording  an  excuse  for  the  coming  conquest  of  Con- 
stantinople by  the  Franks  and  Venetians. 

(5.)  Palma  the  younger.  The  Franks  and  Venetians 
conquer  Constantinople,  1203.  This  is  the  first  conquest, 
when  Isaac  was  restored  to  the  throne  on  condition  of  pay- 
ing a  heavy  subsidy,  and  conforming  to  the  Catholic  Church, 
Isaac  did  not  fulfil  these  onerous  conditions,  so — 

(6.)  Tintoretto  the  younger.  The  Franks  and  Venetians 
reconquer  Constantinople,   1204.     It  was  on  this  occasion 


192  THE   DOGE'S   PALACE  [vii. 

that  the  Doge  sent  to  Venice  the  Bronze  Horses,  the  rehcs 
of  St.  James  and  St.  George,  the  Head  of  St.  John  the 
Baptist,  and  the  body  of  St.  Lucy.  Bodies  of  saints  were 
the  chief  articles  of  import  during  the  early  middle  ages. 

(7.)  Andrea  Vicentino.  The  Crusaders,  in  St.  Sophia, 
elect  Baldwin  of  Flanders  as  Emperor  of  the  East. 

End  wall,  (8.)  Aliense.  Doge  Enrico  Dandolo  crowns 
Baldwin  as  Emperor, 

Between  the  windows  is  a  picture  by  Paolo  Veronese  re- 
presenting one  of  the  other  heroic  exploits  of  Venice  in  the 
War  of  Chioggia,  in  which  she  overcame  the  Genoese,  and 
made  herself  finally  mistress  of  the  Mediterranean.  Its 
subject  is  the  return  of  Doge  Andrea  Contarini  after  his 
victory  at  Chioggia  in  1379. 

The  ceiling  of  this  hall  contains  several  works  worthy 
of  notice,  out  of  which  I  select  for  notice  only  the  three 
largest  : — 

The  ova/  nearest  the  Paradise  is  by  Paolo  Veronese  ;  it 
represents  *Venice  enthroned  as  Queen  of  the  Sea,  amid 
fancied  architecture  of  a  decadent  style,  with  ugly  and  useless 
twisted  columns  ;  the  loggia  contains  several  good  portraits 
of  voluptuous  women. 

The  ^central  square  is  by  Tintoretto,  and  is  another  of  the 
later  type  of  pictures  in  which  the  Doge  is  represented  as 
doing  homage,  not  to  a  divine  or  sainted  personage,  but  to 
an  allegorical  and  secular  personification.  In  this  case  it  is 
Doge  Nicolo  da  Ponte,  who  offers  the  homage  of  the  nobles 
and  the  subject  cities  to  an  embodied  Venice.  The  back- 
ground consists  of  a  view  of  St.  Mark's.  Below  are  grouped 
the  various  arts,  handicrafts,  and  commercial  avocations  of 
the  town  and  territory. 

The  oval  furthest  from  the  Paradise  is  by  Palma  the 
younger  :  it  represents,  again,  Venice  enthroned  and  crowned 
by  Victory. 

A  door  near  the  last  picture  leads  to  the 

""  Sala  dello  Scrutinio, 

where  the  votes  were  counted  for  the  election  of  the  Doge. 


Vli.]  THE   DOGE'S   PALACE  I93 

A  window  to  the  R.  in  the  anteroom  here  affords  a  good  out- 
look over  the  Renaissance  portion  of  the  building. 

The  5ala  dello  5crutinio  itself  is  another  handsome  hall, 
with  a  fine  ceiling,  and  from  its  windows  impressive  views 
are  obtained,  especially  from  the  one  on  the  L.  with  the 
balcony,  which  affords  an  excellent  survey  of  the  Piazza  and 
Piazzetta, — in  particular  of  the  fagade  of  Sansovino's  Library 
and  of  the  very  quaint  and  ornate  chimney  on  the  top  of 
the  Zecca.  This  is  also  one  of  the  best  points  of  view  for 
the  lion  of  St.  Mark  and  for  St.  Theodore  on  his  croco- 
dile. The  richness  in  colour  of  the  South  Front  of  St. 
Mark's  comes  out  well  in  the  sunlight  from  this  stand- 
point. 

Re-enter  the  hall.  The  entrance  wall  is  entirely  occupied 
by  Palma  Giovane's  Last  Judgment,  a  work  in  which  Palma 
unequally  endeavours  to  imitate  Tintoretto's  Paradise ;  to 
the  L.  are  the  elect,  to  the  R.  the  damned. 

The  other  walls  are  occupied  by  late  historical  or  pseudo- 
historical  pictures,  again  representing  episodes  in  the  history 
of  Venice  reflecting  credit  on  the  Republic.  They  begin  at 
the  far  side  oi  this  room,  the  end  wall  of  which  is  wholly 
occupied  by  the  triumphal  arch  and  monument  of  Francesco 
Morosini,  who  reconquered  the  Morea  from  the  Turks  in 
1690  ;  it  was  erected  in  his  honour  during  his  lifetime  by  the 
senate,  as  the  inscription  on  the  ugly  half-length  bronze 
figure  below  testifies.  (Hence  his  title  of  Peloponnesiacus.) 
Of  the  pictures  which  the  monument  contains,  (all  by 
Lazzarini,)  the  only  one  worthy  of  notice  is  that  on  the  L. 
below,  which  represents  the  Doge  in  his  ducal  costume  and 
armour,  holding  a  marshal's  baton,  and  presenting  to  Venice 
the  reconquered  Christian  Morea,  whose  chains  he  is  striking 
off ;  they  lie  at  her  feet,  together  with  the  Turkish  turban 
and  the  map  of  the  Morea  which  symbolise  his  conquest  ; 
Venice  herself  is  somewhat  uncomfortably  enthroned  on  St. 
Mark's  lion.  This  is  a  fair  example  of  the  overwrought  later 
allegorical  treatment  of  similar  subjects. 

The  pictures  on  the  wall  on  the  Piazzetta  side  are  as 
follows  : — 

G.  V.  N 


194  ^^^   DOGE'S    PALACE  [vil 

(i.)  Pepin,  king  of  the  Franks,  lays  siege  to  the  town  of 
Rivo  Alto  in  809,  by  Vicentino. 

(2.)  Pepin,  and  therefore  the  Frankish  empire,  driven 
away  from  Venice,  also  by  Vicentino. 

(3.)  Domenico  Michiel  defeats  the  Caliph  of  Egypt  in  a 
naval  engagement  at  Jaffa,  in  11 23,  by  Peranda. 

(4.)  Domenico  Michiel  takes  Tyre  in  1125.  (This  is  the 
victory  of  which  the  columns  in  the  Piazzetta  are  trophies.) 
I  need  hardly  add  that  in  all  these  cases  the  later  Venetians 
figure  their  ancestors  with  their  own  costumes  and  their  own 
weapons  of  warfare. 

(5.)  The  victory  of  the  Venetians  over  King  Roger  of  Sicily 
in  1 148,  by  Marco  Vecelli. 

The  series  continues  just  opposite  :  — 

(7.)  Capture  of  Zara  from  the  Hungarians  in  1346,  by  Tin- 
toretto. 

(8.)  The  victory  of  Lepanto  in  1571,  by  Vicentino. 

(9.)  The  battle  against  the  Turks  in  the  Dardanelles  in 
1656,  by  Pietro  Liberi. 

The  compartments  of  the  ceiling  contain  similar  pictures 
of  real  or  supposed  glories  of  Venice,  but  of  little  interest. 

Return  through  the  Sala  del  Maggior  Consiglio  to  the 
portal  by  which  you  first  entered  that  large  hall :  a  door  on 
the  R.  gives  access  to  the 

Library, 
a  magnificent  collection  of  books  and  manuscripts,  the 
description  of  which,  however,  lies  outside  the  province  of 
this  Guide.  One  of  its  chief  treasures  is  the  famous  Grimani 
Breviary,  with  exquisite  illuminations  by  Gerard  David, 
Horenbout,  and  other  Flemish  masters  of  the  late  15th 
century,  (exhibited  on  Wednesdays  only,  in  an  inadequate 
and  unsatisfactory  manner.)  Students  of  art  may  obtain 
special  leave  to  consult  it. 

The  door  to  the  L.  leads  into  the 

ARCHiEOLOGICAL   MUSEUM, 

which  contains  several  second-class  works  of  classic  art,  and 
a  few  masterpieces. 


VII.]  THE   DOGE'S   PALACE  I95 

Room  I. — Corridor.  Figures  of  deities,  marked  on  the 
pedestals,  and  few  of  them  of  any  exceptional  interest. 
Colossal  Minerva.  Bacchus.  Faun  and  Fauness.  Bust  of 
Juno,  etc. 

Room  II. — State  Dressing  Room  of  the  Doge,  has  a  very 
charming  early-Renaissance  chimney-piece  by  P.  Lombard©. 
Over  the  door  of  entry  is  a  graceful  relief  of  Doge  Leonardo 
Loredan  adoring  the  Madonna  and  Child,  accompanied  by 
St.  Mark,  St.  Nicholas,  and  another  doubtful  saint.  Over 
the  opposite  door  is  a  pretty  coloured  group  of  a  Madonna 
with  angels.  Round  the  walls  are  three  successive  paint- 
ings of  the  Lion  of  St.  Mark,  by  Jacopo  del  Fiore,  1415, 
Donato  Veneziano,  1459,  and  Carpaccio,  15 16.  The 
*coffered  ceiling  of  this  beautiful  little  room  is  deserving 
of  notice. 

Room  III. — {dello  Scudo)  contains  ancient  rnaps,  the 
earliest  of  which  is  that  by  Fra  Mauro,  (1457,)  in  a  round 
frame,  near  the  centre  of  the  room  ;  it  has  the  south  at  the 
top  of  the  map,  instead  of  at  the  bottom  as  usual.  Interesting 
and  curious.  From  the  L.  %vindo'w  of  this  room  you  get  an 
excellent  view  of  the  domes  of  St.  Mark's,  and  the  connect- 
ing portion  between  the  church  and  palace.  Nowhere  else 
can  you  so  well  observe  the  oriental  shape  of  the  minor 
cupolas  surmounting  the  domes. 

Continue  along  the  same  line  as  before  into 

Room  IV.,  Hall  of  the  Busts. — This  has  an  over-decorated 
Renaissance  mantelpiece,  and  a  fine  ceiling.  It  contains 
numerous  busts  of  the  imperial  Roman  period,  some  named, 
and  some  of  them  excellent,  mainly  the  gifts  of  Cardinal 
Grimani.  On  the  wall  of  entrance,  high  up,  is  a  good 
Antinous  ;  among  the  other  busts,  notice  Septimius  Severus, 
Faustina,  Lucius  Verus,  two  stages  of  Marcus  Aurelius, 
Vitellius  with  his  coarse  bull-neck  and  vulgar  sordid  features, 
the  solid  common-sense  of  Vespasian,  and  the  capable  figure 
of  Trajan.  (Chronologically,  the  series  begins  at  the  far 
end.) 

Room  V.  of  the  Brottses,  with  a  fine  ceiling  and  a  good 
early-Renaissance  mantelpiece,  topped  by  ugly  later  figures. 


196  THE   DOGE'S   PALACE  [vil. 

contains  a  few  antique  bronzes  ;  round  the  walls  are  Greek 
pottery  and  other  works  of  minor  interest. 

Room  VI.  has  nothing  of  note  but  an  Adoration  of  the 
Magi,  by  Bonifazio. 

The  long  room  beyond  this  gives  access,  on  the  R.,  to  a 
staircase  with  a  fresco  of  St.  Christopher,  by  Titian,  (ill  pre- 
served,) the  interest  of  which  is  mainly  historical. 

The  Room  of  Brottzes,  beyond,  contains  several  admirable 
works  of  the  Renaissance.  L.  of  the  door,  three  busts  by 
Aspetti,  named.  On  a  fine  bronze  candelabrum,  the  Doge's 
cap  of  Doge  Paolo  Venier.  In  a  case  by  the  wall,  exquisite 
medals  by  Pisanello  and  others.  Above,  fine  bas-reliefs  in 
bronze,  by  Riccio,  with  the  history  of  the  Emperor  Constan- 
tine, — his  Vision  of  the  Cross,  his  victory  over  Maxentius, 
the  discovery  of  the  True  Cross  by  Helena,  and  the  Miracle 
of  the  True  Cross,  the  genuineness  of  which  is  proved  by  its 
cure  of  a  sick  man.  In  the  centre,  between  these,  Florentine 
Assumption  of  the  Virgin.  In  the  middle  of  the  room, 
bronzes  and  medals.  On  the  R.  wall,  beautiful  bronze  doors 
for  a  tabernacle,  containing  a  relic,  with  a  Pietk  and  Deposi- 
tion, by  Riccio.  Tomb  in  imitation  of  the  antique,  by  Tullio 
Lombardo,  a  fine  reproduction  of  the  Roman  spirit.  Charm- 
ing relief  of  St.  Martin  dividing  his  cloak  with  the  beggar 
by  Riccio.  In  the  cases,  coins  and  medals  of  Venice.  Many 
of  the  other  works  in  this  room  deserve  close  attention,  but 
cannot  here  be  adequately  described.  This  is  a  collection 
for  the  leisured. 

Room  of  the  lesser  Antiques.  — Minor  works  of  antique 
sculpture  :  a  Venus  of  the  same  type  as  the  Capitoline  at 
Rome ;  Ganymede  carried  away  by  the  eagle  ;  Leda  and 
the  Swan  ;  an  Apollo  Citharaedus,  and  other  figures.  By 
the  far  wall  stand  three  of  the  most  important  antique  works 
in  this  collection, — three  *fallen  and  dying  Gauls,  of  the 
school  of  Pergamum,  reduced  copies  (or  originals)  of  sculp- 
tures belonging  to  the  same  series  as  the  famous  (so-called) 
Dying  Gladiator  of  the  Capitol  at  Rome.  These  are  very 
characteristic  specimens  of  the  local  Pergamene  school, 
which  represented  the  combat  of  the  Greeks  with  the 
invading  Gauls. 


VII.]  THE   DOGE'S   PALACE  197 

Room  of  the  larger  Antiques. — Other  antique  figures, 
among  the  most  interesting  of  which  is  a  somewhat  inferior 
archaic  Diana,  resembhng  the  one  at  Naples,  but  not  of 
equal  merit.  This  figure  belongs  to  the  stage  when  Greek 
sculpture  was  just  emancipating  itself  from  its  earliest 
stiffness. 

Your  tickets  also  entitle  you  to  visit  the  Dungeons.  I  am 
not  aware  of  any  sufficient  reason  why  you  should  desire  to 
avail  yourself  of  this  permission. 


VIII 

THE  GRAND   CANAL 

["''  I  ^HE  Grand  Canal,  (or  Canalazzo)  the  street  of  the 
j_  JL  nobles,  is  originally  one  of  the  many  navigable 
channels  by  whose  aid  the  waters  of  the  tortuous  rivers 
which  have  formed  the  lagoon  find  their  way  through  the 
mud-banks,  past  the  mouths  of  the  Lido,  to  the  open  sea. 
It  is  the  original  rivo  alto,  or  deep  stream,  which  created 
Venice,  and  up  which  the  commerce  of  all  countries  was 
able  to  reach  the  city  in  the  days  of  her  splendour.  A 
Panorama,  published  by  Ongania  in  the  Piazza  (i  franc)  is 
an  excellent  guide.  You  will  doubtless  ascend  the  Canal 
many  times  before  you  come  to  examine  it  in  detail  in  this 
order ;  but  two  afternoons  at  least  should  be  given  to  ex- 
ploring its  banks  in  the  following  manner.] 


Begin  by  ascending  the  Canal  on  the  Left  Bank.  Make 
your  gondolier  keep  to  the  left  side  till  you  reach  the  railway 
station. 

The  long  low  building  which  flanks  the  exact  end  of  the 
Canal,  looking  seaward,  is  the  Dogana  di  Mare,  erected  in 
1676  by  Benoni ;  a  futile  work  of  the  later  Renaissance, 
unpicturesque  in  itself,  though  rendered  to  some  extent  a 
pleasing  object  by  its  imposing  position.  Two  Atlases  on 
the  summit  bear  a  gilded  globe,  surmounted  by  a  bronze 
Fortuna,  which  serves  as  a  vane,  its  sail  turning  with  every 
change  of  the  wind.  The  low  building  in  line  with  and 
beyond  this,  again,  consists  of  the  warehouses  and  sheds  of 
the  Dogana. 


198 


VIII.]  THE    GRAND   CANAL  1 99 

A  little  recessed  stands  the  Seminario  Patriarcale,  (once 
a  monastery,)  an  uninteresting  building  of  the  later  Renais- 
sance, by  Longhena,  1672. 

5anta  Maria  della  Salute,  already  noticed. 

Pass  the  mouth  of  a  canal,  the  Rio  della  Salute.  The 
beautiful  brick  apse,  a  short  way  down  this  Rio,  on  the  R., 
is  that  of  the  secularised  church  of  San  Qregorio,  with 
narrow  and  slender  14th-century  Gothic  windows,  extremely 
charming.  The  buildings  connected  with  it  at  the  corner 
of  the  canal  belong  to  the  secularised  monastery  of  San 
Gregorio,  of  which  this  church  was  the  oratory :  they  have 
two  charming  Gothic  windows,  and  a  beautiful  square  door- 
way, surmounted  by  a  pleasing  relief  of  St.  Gregory,  patron 
of  the  monastery.  The  court  within  (land  at  the  steps  and 
see  it  if  you  have  not  already  done  so)  is  perhaps  the  most 
picturesque  little  cortile  in  Venice. 

The  large  new  palace  which  succeeds  this,  as  you  move 
westward,  is  the  Palazzo  Genovese,  erected  in  1898,  in 
imitation  of  the  earlier  Gothic  buildings,  of  which,  however, 
it  is  a  somewhat  stiff  and  formal  copy. 

Pass  a  dry  street.  The  first  palace  which  you  reach 
beyond  this  street  is  the  Semitecolo,  with  its  beautiful  early 
Gothic  windows,  having  false  ciispi  in  the  arches,  so  as  to 
make  the  head  a  trefoil.  Observe  on  this  canal  the  gradual 
growth  of  the  arch  till  it  reaches  the  Doge's  Palace  type. 
Notice  here,  too,  the  beautiful  balustrade  of  the  balconies 
with  the  little  lions,  on  the  second  floor  ;  these  are  original 
and  belong  to  the  period  ;  the  balcony  on  the  first  floor 
shows  the  debased  style  of  the  17th  or  i8th  century.  Keep 
an  eye  in  future  on  the  various  types  of  balustrade  to  the 
balconies.  Don't  needlessly  burden  your  memory  with  the 
iiatnes  of  the  palaces  :  confine  your  attention  to  the  archi- 
tectural features. 

Pass  the  mouth  of  a  canal,  the  Rio  della  Fornace.  The 
first  house  but  one  beyond  it  is  the  Palazzo  Volkoff,  in- 
habited by  Duse,  the  famous  actress ;  its  windows  on  the 
first  floor  are  of  an  early  Gothic  type.  The  palace  just  after 
this,  (slightly  out  of  the  perpendicular,)  with  many  windows 


200  THE    GRAND   CANAL  [VIII. 

to  the  L.  and  few  to  the  R.,  and  numerous  plaques  of 
coloured  marble  inserted  as  adornments  in  the  decorative 
work,  is  the  Palazzo  Dario,  a  building  in  the  early  Renais- 
sance style,  and  one  of  the  most  pleasing. 

Pass  the  mouth  of  a  canal,  Rio  delle  Toreselle.  Wine 
vaults;  then,  first  floor  only  of  the  vast  18th-century 
Palazzo  Venier,  never  completed,  with  great  lions'  heads 
on  its  base  :  it  now  contains  a  garden. 

Beyond  this,  two  unimportant  houses,  then  the  Falco,  a 
feeble  late  palace  ;  after  it,  the  beautiful  Gothic  Palazzo 
da  Mula ;  notice  the  softening  of  its  angles  ;  it  is  in  the 
style  of  the  14th  century,  middle  Gothic,  with  a  17th-century 
balcony  on  the  2nd  floor. 

Next  comes  the  Barbarigo,  15th  century,  early  Renais- 
sance, with  very  simple  pillars  ;  but  the  whole  front  is  now 
filled  with  very  glaring  mosaics  of  the  Venice  and  Murano 
Glass  Company. 

The  little  Campo  which  opens  beyond  this  palace  gives 
you  a  glimpse  of  the  pretty  small  church  of  San  Vio. 
Beyond  it,  mouth  of  a  canal,  Rio  di  San  Vio. 

The  uninteresting  palace  at  the  far  corner  of  this  canal, 
marked  by  posts  {pali)  surmounted  by  the  fleur-de-lys,  is 
the  Loredan,  of  late  inhabited  by  Don  Carlos,  the  Spanish 
Pretender ;  hence  the  Bourbon  lilies.  (These  poles  or 
stakes  throughout  Venice  bear  the  heraldic  colours  of  the 
inhabitants  of  the  palace.  They  serve  as  boat-houses.) 
Then  Balbi  Valier,  1 8th  century. 

After  this,  a  very  pretty  garden,  beyond  which  rises  the 
Palazzo  Manzoni^  a  handsome,  somewhat  over-decorated 
building  in  the  early  Renaissance  style,  isth  century;  note 
its  frieze  of  eagles,  the  decorative  work  on  its  base,  and 
the  delicate  balcony  on  the  2nd  floor.  This  is  a  very 
characteristic  and  fine  specimen  of  early  Renaissance  archi- 
tecture. 

After  an  uninteresting  house,  pass  the  mouth  of  the  Rio 
della  CaritL 

Secularised  church  of  the  Carita,  now  used  as  part  of 
the  Academy.     Steamboat  station  Accadeiiiia.     Pass  under 


VIII.]  THE   GRAND   CANAL  201 

the  iron  bridge.     Old  building  of  the    Scuoladella  Caritaj 
ornate  modern  facade  of  the  Academy, 

Pass  the  mouth  of  a  dry  canal.  Three  unintei"esting 
buildings,  (the  last  with  lions  and  old  columns  on  its  quay ;) 
then,  a  little  in  advance,  Palazzo  Contarmi  degli  Scrigni,  a 
dull  16th-century  pseudo-classical  building  by  Scamozzi, 
with  lions'  heads  and  a  huge  human  face  staring  out  over 
the  doorway.  After  it,  (part  of  the  same,)  a  beautiful  Gothic 
palace,  in  the  later  15th-century  style,  with  the  corners 
softened,  and  good  string-courses  ;  a  pretty  balcony  on  the 
1st  floor,  later  one  above.  Notice  the  intrusive  marble 
decoration. 

Pass  the  mouth  of  a  canal,  Rio  di  San  Trovaso.  The 
view  of  this  last  palace  round  the  corner  in  the  canal  is 
strikingly  picturesque.  Then  comes  an  externally-painted 
Palazzo,  with  terra-cotta  decorative  work  ;  after  it,  the 
Palazzo  delV  Ambasciatore^  (or  Loredan,)  a  fine  15th-century 
Gothic  building,  (Doge's  Palace  style,)  with  Renaissance 
figures  of  two  shield-bearing  personages,  perhaps  St.  George 
and  St.  Theodore.  Observe  the  exaggerated  finials  (top 
ornaments  of  the  arch)  which  mark  the  later  (florid)  Gothic, 
the  softened  corners,  and  the  bad  late  balcony. 

Pass  the  mouth  of  a  canal,  Rio  Malpaga.  Beyond  it, 
relics  of  a  palace  ;  then  a  row  of  small  palaces,  unimpor- 
tant. 

Pass  the  mouth  of  the  Rio  San  Barnaba.  The  huge  and 
lofty  building  beyond  this,  with  more  or  less  Doric,  Ionic, 
and  Corinthian  columns  in  its  three  floors,  is  the  Rezzonico,  /o^- 
formerly  inhabited  by  Robert  Browning,  the  poet  ;  it  is  an 
over-decorated  square  mass,  by  Longhena,  architect  of  the 
Salute,  imposing  from  its  mere  size,  but  otherwise  unin- 
teresting. 

The  next  two  palaces  are  late  and  feeble.  Beyond  them, 
by  the  bend  of  the  stream,  comes  a  famous  group,  much 
painted  by  modern  artists,  the  first  two  of  the  set  being  the 
palaces  of  the  Giustiniani  family,  and  the  third,  a  little 
taller,  that  of  the  Foscari.  All  of  these  are  buildings  in  the  '-j  'j 
style  of  the  Doge's  Palace,  the  Giustiniani  having  bad  late 


202  THE   GRAND   CANAL  [viil. 

balconies  ;  the  Foscari  has  much  more  beautiful  railings, 
and  its  arches  are  in  some  case  simpler ;  its  coats  of  arms 
are  held  by  ugly  (late)  angels. 

Pass  the  mouth  of  the  Rio  Foscari.  At  the  corner,  a 
beautiful  old  lamp.  Then,  Guggenheim's  furniture  shop,  of 
the  17th  century. 

Beyond  the  next  small  canal  rises  a  dull  16th-century 
Renaissance  palace. 

Steamboat  station  San  Tomk. 

Pass  the  Rio  San  TomL  This  is  followed  by  two  or  three 
uninteresting  palaces,  the  next  which  deserves  note  being 
one  with  four  balconies,  having  pretty  balustrades  of  a  con- 
temporary type,  and  crowned  by  lions  ;  the  recessed  cusps 
of  these  arches  are  purely  ornamental. 

Beyond,  the  Palazzo  Dona,  recognisable  by  the  painted 
cherubs  on  its  second  floor.  Next,  the  Palazzo  Pisatii,  J'i- 
Gothic  style  of  the  Doge's  Palace,  15th  century,  but  its 
second  floor  has  a  rather  original  arcade,  and  its  cornice 
and  parapet  deserve  notice  :  the  balconies  have  been 
modernised. 

Jesurum's  work-rooms.  Pass  the  mouth  of  the  Rio  San 
Polo.  The  red  palace  just  beyond  this  is  the  Cappello,  long 
inhabited  by  Sir  A.  H.  Layard.  Next  to  it,  the  Vendramin, 
early  16th-century  Renaissance,  with  decorative  marble  in- 
sertions. After  this,  Q,uin?ii,  17th  century;  a  gate,  and 
then  the  Palazzo  Bernardo,  15th  century,  style  of  the  Doge's 
Palace,  with  softened  angles  and  square  balustrades  to  the 
main  balcony. 

Pass  the  little  Rio  della  Madonetta  and  one  dull  house  ; 
then  the  lovely  little  *PaIazzo  Dona,  the  first  floor  of  which 
{above  the  mezzanino)  is  one  of  the  most  beautiful  speci- 
mens left  of  12th-century  Byzantine-Romanesque  work,  with 
stilted  arches  {i.e.  not  springing  at  once  from  their  base,  but 
raised  on  straight  supports)  surrounded  by  most  delicate 
ornamentation  ;  above  are  plaques  with  animal  symbolism. 

Next  to  the  Dona,  but  separated  by  a  little  pergola,  is 
the  Palazzo  Saibante,  a  more  regular  12th-century  Roman- 
esque  building,  retaining    only  one   beautiful   arcade,  with 


VIII.]  THE   GRAND   CANAL  203 

stilted  arches  and  exquisite  Byzantine  capitals,  above  which 
are  animal  symbolism,  and  a  delicate  string-course  of  orna- 
ment. 

Garden,  with  house  recessed ;  then,  the  Palazzo  Tiepolo^ 
a  dull  16th-century  building,  by  Sansovino,  crowned  by  two 
meaningless  obelisks. 

Pass  the  Rio  dei  Meloni.  Palazzo  Businello,  Byzantine- 
Romanesque,  with  two  charming  arcades  of  stilted  arches  ; 
the  balcony  is  unfortunately  modern.  After  this,  a  project- 
ing house,  and  then  another  ruined  palace,  with  fragments 
of  a  beautiful  Romanesque  arcade  in  two  stories,  having  a 
Gothic  window  inserted  ;  the  capitals  of  these  columns  are 
worth  notice. 

Beyond  this,  a  garden,  and  several  uninteresting  houses, 
behind  which  is  seen  the  tower  of  San  Silvestro. 

Nothing  more  of  interest  till  we  reach  the  Ponte  di 
Rialto,  erected  in  1592  by  Antonio  da  Ponte,  in  place  of 
an  older  wooden  one.  In  itself  merely  a  bridge  of  a  bad 
period,  this  work  is  strikingly  picturesque  in  virtue  of  its 
single  high  span,  its  parapet  and  balustrade,  and  the  arcaded 
row  of  shops  which  occupy  part  of  its  central  portion.  The 
bridge  has,  on  the  face  by  which  we  approach  it,  an  An- 
nunciation, an  extreme  instance  of  the  separation  of  Our 
Lady  from  the  Announcing  Angel.  Gabriel  is  in  the  span- 
dril  to  the  L.,  Our  Lady  in  that  to  the  R.  ;  the  keystone  is 
formed  by  the  dove  flying  towards  the  Madonna.  The  feast 
of  the  Annunciation  is  the  festa  of  Venice. 

Pass  under  the  bridge.  Beyond  it,  Palace  of  the  Camer- 
lenghi,  or  Chamberlains,  (Treasury  of  the  Republic,)  a 
heavy  but  handsome  Renaissance  work  by  Bergamasco, 
early  i6th  century,  picturesque  at  certain  angles,  owing  to 
the  irregularity  of  the  area  on  which  it  stands. 

Then,  somewhat  recessed,  the  Old  Buildings  of  the 
Rialto,  (in  front  of  which  is  the  Herb  Market^)  followed  by 
the  projecting  New  Buildings,  once  Sansovino's,  but  so 
much  renewed  as  to  be  practically  almost  modern. 

Beyond  this  long  line  of  buildings  we  come  to  the  Fish 
Market^  often  unpleasant   to  the  sense  of  smell,  but  pic- 


204  THE   GRAND   CANAL  [viil. 

turesque  by  virtue  of  its  quaint  fishing  craft,  and  odd  live- 
fish  baskets. 

Pass  the  mouth  of  the  Rio  della  Pescaria.  In  the  back- 
ground the  tower  of  Sant'  Aponal.  The  next  building  of 
interest  is  the  Palazzo  Morosini,  with  softened  corners,  a 
fine  14th-century  Gothic  building,  in  the  Doge's  Palace 
style.  The  house  next  but  one  to  it,  though  uninteresting 
in  itself,  has  beautiful  old  balconies  and  other  relics  of  past 
splendour. 

Pass  the  mouth  of  a  canal,  the  Rio  di  San  Cassan. 
Then,  comes  a  little  ^Palazzo  of  early  Gothic  architecture, 
luitJioiit  cusps  to  its  arches,  showing  a  transitional  form 
between  Venetian  Romanesque  and  Venetian  Gothic. 
After  it,  the  huge  Palazzo  Corner  della  Regina,  (now  the 
Monte  di  Piefa,)  a  late  building  of  1724.  It  occupies  the 
site  of  a  palace  belonging  to  Queen  Catharine  of  Cyprus. 

Pass  the  mouth  of  a  canal,  the  Rio  Ca'  Pesaro.  Just 
beyond  it,  with  a  fine  corner  view,  the  gigantic  Palazzo 
C  U  Pesaro,  built  by  Longhena,  architect  of  the  Salute,  in 
1679  ;  though  overloaded  with  ornament,  as  is  all  Lon- 
ghena's  work,  this  huge  mansion  has  a  certain  imposing 
stateliness  by  virtue  of  its  mere  size  and  of  the  enormous 
bosses  of  faceted  stone  which  form  its  lower  floor.  Good 
views  round  its  corners. 

Pass  another  small  canal,  and  then,  just  beyond  it,  comes 
the  tawdry  baroque  fagade  of  the  church  of  St.  Eustacchio, 
commonly  known  in  Venetian  as  San  Stae,  erected  in  1709. 
Next  to  it  is  the  small  "^Palazzo  Priuli,  with  a  lovely 
first-floor  arcade,  early  Gothic,  having  a  somewhat  oriental 
curve  in  the  arch,  derived  by  early  Venetian  Gothic  from 
Alexandria  or  Cairo.  The  capitals  of  the  columns  arc 
characteristic  of  the  period.  It  has  also  a  dainty  littk 
balcony,  with  graceful  slender  columns. 

Beyond  this,  a  garden  ;  then,  a  small  palace  with  an 
arcade  on  the  first  floor,  slightly  resembling  the  last,  but 
with  cusps  to  the  arches.  These  various  stages  in  the 
evolution  of  Venetian  Gothic  should  be  carefully  noted  and 
allowed  to  fall  into  their  proper  order. 


VIII.]  THE   GRAND   CANAL  205 

Pass  the  mouth  of  a  canal,  Rio  di  Ca'  Tron  :  then, 
another  of  Longhena's  17th-century  fronts,  encumbered 
with  coats  of  arms,  twisted  into  an  ugly  wriggling  pattern. 
The  long  building  next  to  this,  with  curious  battlements, 
is  the  ancient  Granary  of  the  Republic,  still  bearing  a  few 
coats  of  arms. 

Pass  the  mouth  of  a  canal,  Rio  dei  Megio.  Next  to  this 
is  the  water-front  of  the  very  early  Byzantine  and  Roman- 
esque palace  now  known  as  the  *Fondaco  de'  Turchi,  J  (> 
a  name  which,  however,  it  did  not  acquire  until  the  17th 
century,  when  it  was  let  out  to  the  Turkish  merchants  in 
Venice.  This  magnificent  12th-century  palace,  though 
recently  so  much  restored  as  to  have  lost  all  air  of  antiquity 
and  the  greater  part  of  its  early  interest,  is  still  in  a  certain 
symbolical  way  representative  of  the  splendid  homes  of 
the  Byzantine  period  to  which  belongs  the  basilica  of 
St.  Mark's,  and  of  which  this  is,  among  palaces,  the  only 
surviving  example  all  in  the  one  style.  Its  modernised 
arches,  capitals,  shafts,  bases,  parapets,  and  decorative 
plaques,  are  all  typical,  if  not  original,  and  it  presents  us 
with  a  good  picture  of  what  the  Grand  Canal  must  have 
looked  like  in  many  of  its  parts  before  the  Gothic  and 
Renaissance  invasion.     Study  its  front  carefully. 

You  may  land  here,  in  passing,  to  visit  the  interesting 
objects  exposed  under  \ht  front  arcade,  the  building  being 
now  appropriated  as  the  Correr  Museum  (Museo  Civico). 
Begin  to  the  R.  Quaint  relief  of  St.  Martin  dividing  his 
cloak  with  the  beggar,  dated  1478.  Beyond  the  door,  good 
decorative  reliefs  and  inscriptions.  Over  the  ruined  tomb, 
an  Archangel,  with  his  hand  raised  in  an  attitude  of  bless- 
ing. Beyond  the  next  door,  ancient  sarcophagi  ;  over  them, 
relief  of  Our  Lady  and  Child,  flanked  by  St.  Mary  Magda- 
len as  penitent,  (dressed  only  in  her  flowing  hair,)  and  St. 
Sebastian.  Beyond  these,  St.  John  the  Baptist  and  St. 
Mark  the  evangelist  ,  below,  two  beautiful  adoring  angels  ; 
in  the  lunette  above  the  Eternal  Father  and  angels.  The 
Madonna  della  Misericordia,  bearing  the  infant  Christ  as 
a  brooch  on  her  bosom,   and  sheltering    under    her   robe 


206  THE   GRAND   CANAL  [vill. 

the  Fraternity  of  Crociferi,  very  similar  to  the  treatment 
in  certain  pictures  in  the  Academy.  Beyond  this,  Our  Lady 
without  the  Child,  worshipped  by  a  Doge  and  Senators. 
\fter  the  large  central  door,  another  Madonna  della  Miseri- 
:ordia,  sheltering  votaries  under  her  robe.  Near  this, 
several  interesting  inscriptions  and  sarcophagi.  The 
interior  of  the  Museum  is  best  visited,  if  at  all,  on 
another  occasion  ;  I  do  not  however  advise  you  to  inspect 
it  unless  your  time  at  Venice  is  tolerably  unlimited. 

Continuing  your  inspection  of  the  L.  bank  of  the  canal. 
Steamboat  station,  Museo  Civico.  After  this,  for  some 
distance  there  are  few  objects  of  interest  till  you  reach 
the  little  Palazzo  Giovanelli,  with  a  good  balcony  and 
Gothic  arches  of  the  middle  period.  Pass  the  mouth  of  a 
dry  canal  ;  then  a  garden.  The  only  objects  of  interest 
further  on  along  this  bank  are  the  church  of  San  Simeone 
Grande  (a  little  back)  and  the  ugly  domed  church  of  San 
Simeone  Piccolo,  built  in  171 8. 

Turn  at  the  Railway  Station  and  begin  the  examina- 
tion of  the  Right  Bank. 

The  ugly  baroque  front  of  the  church  of  the  Scalzi 
adjoins  the  station;  it  is  an  overloaded  building  of  the 
17th  century.  The  great  monastery  of  Barefooted  Carme- 
lites to  which  it  once  belonged  has  left  no  remains  visible. 
Steamboat  station  Ferrovia.  After  this,  several  uninterest- 
ing buildings. 

The  tall  narrow  Palazzo  which  is  the  first  to  arrest  our 
attention  as  we  glide  homeward  is  the  Fla/tgini,  an  over- 
decorated  building  of  the  17th  century,  less  debased,  how- 
ever, than  most  work  of  its  period.  Then  comes  the  marble 
transept  of  San  Qeremia,  with  the  dome  behind  it, — a 
church  built  in  1753;  it  has  a  good  campanile  a  little  in 
the  background. 

Steamboat  station  San  Geremia. 

The  palace  beyond,  with  the  conspicuous  eagles,  is  the 
Palazzo  Labia,  by  Longhena. 

Pass  the  mouth  of  the  Cannaregio,  a  broad  canal,  down 
which  the  steamboats  go  to   Mestre  ;  in  the  background, 


VIII.]  THE    GRAND   CANAL  207 

beyond  the  bridge,  to  the  R.,  are  the  tall  houses  of  the 
Old  Ghetto. 

After  some  uninteresting  buildings  comes  a  Renaissance 
palace,  probably  altered  from  Gothic,  as  it  has  its  corners 
softened.     Then  a  little  garden. 

Ugly  brick  front,  unfinished,  of  the  church  of  San  Mar- 
aiola  (properly  St.  Hermagoras  and  Fortunatus  :  note  all 
these  dedications  :  they  cast  light  on  the  saints  in  the 
arcades  of  St.  Mark's).  Beyond  it,  a  Gothic  palace  of  the 
early  type,  with  slight  cusps  to  the  arches. 

Pass  the  mouth  of  the  Rio  dei  Servi :  then,  a  garden. 
Beyond  it,  with  blue  posts,  the  gigantic  Palazzo  Vendramin= 
Calergi,  commonly  known  as  the  Palazzo  No}i  nobis,  from 
the  inscription  on  its  ground  floor  (Non  nobis,  Domine, 
non  nobis — not  unto  us,  O  Lord,  etc.).  This  is  a  cold 
but  stately  Renaissance  palace  in  the  style  of  the  Lombardi, 
(14S1,)  with  good  eagles  on  its  frieze,  and  relieved  by 
inserted  decorative  marbles  :  the  balustrades  apparently 
come  from  an  earlier  building.  (Wagner  the  composer 
lived  and  died  here.)  Beyond  it,  one  of  its  wings  with  a 
garden  in  front  of  it.  Observe  the  chimneys,  which  here 
and  elsewhere  in  Venice  are  very  curious. 

The  next  Gothic  palace  (Erizzo)  is  of  the  Doge's  Palace 
type,  with  a  late  balcony  spoiling  its  windows.  Just  beyond 
it,  a  tasteful  Renaissance  building. 

Here  the  canal  makes  an  angle  at  the  entrance  to  the 
Rio  della  Maddalena.  Immediately  after  the  bend,  on  the 
front  of  a  Renaissance  building  with  the  remains  of  frescoes, 
is  a  Madonna  della  Misericordia  sheltering  votaries.  This 
is  succeeded  by  several  uninteresting  late  houses. 

Pass  the  mouth  of  the  Rio  di  Noale.  There  is  nothing 
in  particular  to  notice  here  till  you  reach  the  Rio  di  San 
Felice,  just  beyond  which  rises  the  Palazzo  Fontana,  built 
by  Sansovino,  and  easily  recognised  by  the  two  meaning- 
less obelisks  on  its  roof.  Almost  next  to  this,  after  the 
Children's  School,  is  the  Coletti  oi  the  i8th  century,  recog- 
nised by  its  busts  on  the  upper  floor  and  the  statues  on 
the  ground  floor.     Adjacent  to  it  is  one  of  the  most  pictur- 


208  THE   GRAND   CANAL  [VIII. 

esque  and  certainly  one  of  the  most  popularly  pleasing  of 
^  I  the  palaces,  the  *Ca  d'Oro,  a  very  ornate  building  of  the 
Doge's  Palace  type,  (15th  century,)  with  some  graceful 
traceries  ;  its  string-courses,  cornice,  and  parapet  are  all 
worthy  of  notice  ;  its  angles  are  softened  by  three  twisted 
columns  where  one  is  more  usual.  The  fagade  is  the  work 
of  the  Buon  famils',  who  built  the  Piazzetta  front  of  the 
Doge's  Palace.  Though  somewhat  meretricious  in  its 
splendour  for  a  Gothic  building,  it  is  undeniably  very  pretty 
and  has  original  features  :  the  balconies  have  slender 
and  graceful  balustrades.  It  was  once  gilded  :  hence  its 
name. 

Steamboat  station  Ck  d'Oro. 

The  next  palace  but  one,  after  the  little  garden,  is  the 
Sagredo,  14th  century,  in  an  early  and  somewhat  simpler 
style  ;  its  lower  arcade  being  almost  transitional  between 
Byzantine-Romanesque  and  Gothic,  while  its  upper  arcade 
partakes  of  the  Doge's  Palace  type. 

Pass  a  broad  open  space.  Just  beyond  it  is  the  pretty 
little  Palazzo  Foscarz,  with  middle  Gothic  arcades,  and  a 
Madonna  and  Child  on  its  second  story.  Notice  in  this 
and  many  other  cases  the  shafts  of  the  columns. 

Next  door  but  one  is  the  Palazzo  Michiel  dalle  Colonne, 
a  large  but  uninteresting  17th-century  palace,  with  an  open 
arcade  on  its  ground  floor,  and  half-length  figures  in  the 
middle  pediments. 

The  Gothic  pilace  a  little  beyond  this,  with  dark  blue 
posts,  has  simple  cusped  arches,  with  bad  capitals  to  the 
columns,  and  late  balconies  ;  it  has  been  largely  modernised 
in  the  17th  century. 

Pass  the  mouth  of  the  Rio  dei  SS.  Apostoli,  down  which 
is  visible  the  tower  of  the  church  of  the  same  name.  Just 
beyond  it  stands  the  extremely  interesting  *Palazzo  da 
Mosto,  a  Byzantine  palace,  more  or  less  ruinous,  with  large 
round  arches  on  its  ground  floor,  and  a  good  round-arched 
arcade  on  its  first  floor.  Tlie  summits  of  these  last  arches, 
however,  simulate  and  prefigure  the  Gothic  type  by  being 
apparently  pointed,  though    when  you  look  close  you   see 


VIII.]  THE   GRAND   CANAL  209 

that  the  real  arch  is  itself  circular.  Above  are  fine  de- 
corative plaques,  richly  wrought  with  animal  symbolism, 
and  a  figure  of  Christ  blessing.  What  remains  of  this  once 
beautiful  half-transitional  palace  is  thus  Byzantine  in  under- 
lying reality,  but  apparently  Gothic  in  external  form.  One 
sees  oriental  influence. 

Next  to  it  comes  a  simple,  tolerably  early  Gothic  Palace. 

Pass  the  mouth  of  the  Rio  di  San  Crisostomo,  near  which 
in  the  background  you  catch  a  glimpse  in  passing  of  a  few 
exquisite  windows  belonging  to  a  transitional  early-Gothic 
palace ;  these  windows  show  well  the  first  form  of  the 
Venetian  Gothic,  just  altered  from  the  Byzantine. 

The  only  other  building  of  interest  before  we  reach  the 
Rialto  Bridge  is  the  large  dull  block  close  to  it,  with  five 
open  arches  on  its  ground  floor,  and  a  curious  parapet  on 
top  ;  this  is  the  Fondaco  de'  Tedeschi,  or  Guild  of  the 
German  Merchants  in  Venice  :  heavy  i6th  century.  An 
earlier  Teutonic  guild  hall  existed  here  from  the  13th 
century  :  a  relic  of  the  commercial  importance  of  Venice, 
which  imported  oriental  goods  and  passed  them  on  to 
Germany.  The  quarter  about  the  bridge,  specially  known 
as  Rialto,  was  the  business  district,  like  "the  City"  in 
London.  Here  all  the  guilds  of  foreign  merchants  con- 
gregated. Get  Shakspere  out  of  your  head  :  he  was  never 
in  Venice. 

Pass  under  the  Ponte  di  Rialto.  The  figures  on  this 
front  of  the  bridge  as  we  approach  it  are,  L.,  St.  George  (or 
Theodore  ?)  and  R.,  St.  Mark,  the  two  chief  patrons  of  the 
city. 

After  passing  the  bridge  we  have  on  our  L.  the  Riva  del 
Carbon.  Steamboat  station  Rialto,  for  passengers  going  E. 
The  first  important  building  beyond  it  is  the  Palazzo  Manin, 
the  seat  of  the  last  unhappy  Doge,  (now  the  Banco  d'ltalia,) 
a  frigid  and  jejune  building  in  the  Renaissance  style  of  the 
1 6th  century,  by  Sansovino,  which  absurdly  recalls  the  City 
of  London. 

Steamboat  station  Carbon,  for  passengers  going  W. 

The  lar;^;e  and  handsome  Gothic  palace  behind  it  is  the 

G.  V.  O 


210  THE    GRAND   CANAL  [vill. 

*Palazzo  Betiibo,  a  good  specimen  of  the  14th-century 
pointed  style,  with  the  arches  scarcely  cusped,  if  at  all, 
though  the  finials  are  already  rather  heavy  ;  it  has  good 
columns  and  softened  angles,  but  is  ruined  by  an  ugly  late 
balustrade  added  to  its  balconies. 

Beyond  the  red  houses  which  follow  comes  a  dainty  little 
*Gothic  palace,  said  to  be  all  that  remains  of  the  home  of 
the  great  doge  Enrico  Dandolo,  the  conqueror  of  Constan- 
tinople. It  is,  however,  of  rather  ornate  architecture,  later 
than  his  age,  with  earlier  animal  symbolism  still  untouched 
in  its  upper  floor ;  the  arcades  are  curious,  and  differ  from 
those  of  any  other  palace. 

After  a  few  dull  houses,  we  arrive  at  the  magnificent 
**Palazzo  Loredan,  perhaps  the  most  beautiful  of  all  the 
houses  on  the  Grand  Canal  It  is  a  splendid  example  of 
a  Byzantine-Romanesque  Venetian  palace,  with  a  distinct 
tinge  of  oriental  feeling  ;  the  capitals  of  some  of  its  columns 
are  exquisitely  beautiful,  especially  the  double  pair  to  the  R. 
and  L.  of  the  main  balcony,  (which  is  later,  and  ruins  the 
effect.)  The  arcades  and  ornaments  of  this  glorious  house 
should  be  closely  studied.  Above  stand  figures  of  two  men- 
at-arms  at  the  extreme  end,  whose  inscriptions  are  illegible 
to  me,  though  I  believe  them  to  be  St.  Vitus  and  St.  George. 
The  central  figures,  under  later  (added)  Gothic  canopies 
(with  angels  in  the  finials)  are,  L.,  Justice  with  her  sword 
and  scales,  and,  R.,  Venice  seated  between  her  lions,  and 
holding  the  column  of  St.  Mark  surmounted  by  the  winged 
lion.  I  advise  you  to  study  this  exquisite  fagade  well,  and 
to  recur  to  it  every  time  you  pass  it.  It  is  almost  pure 
Moorish-Byzantine,  with  very  little  Gothic  alteration. 

Next  to  it  is  the  ^Palazzo  Farsetti,  also  Romanesque  and 
of  the  1 2th  century,  but  in  a  simpler  style  and  much  less 
decorated.  This  building,  indeed,  is  rather  pure  Roman- 
esque than  Byzantine,  and  shows  absolutely  no  oriental 
influence.  Its  lower  arcade  is  graceful  and  dignified ;  the 
capitals  of  the  columns  in  the  upper  arcade  deserve  atten- 
tion. The  two  buildings  together  are  now  used  as  the 
Mnnjdpality  of  the  City  of  Venice,  and  their  posts  there- 


VIII.]  THE   GRAND   CANAL  211 

fore  bear  the  lion  of  St.  Mark,  in  gold,  on  a  dark  blue 
ground. 

Beyond  this  comes  a  pretty  little  Renaissance  palace,  con- 
verted from  Gothic,  and  with  two  Gothic  windows  still 
visible  round  the  corner ;  it  flanks  the  Fondamenta  in  pic- 
turesque fashion.  After  a  small  early  Renaissance  palace 
with  decorative  plaques,  comes  the  huge  Palazzo  Qrimani, 
built  by  Sammicheli  in  the  i6th  century,  and  now  used  as 
the  Court  of  Appeal ;  though  destitute  of  real  beauty,  it  is 
imposing  from  its  mere  size  and  its  fine  approach,  and  is 
comparatively  free  from  overloaded  ornament. 

Beyond  it,  pass  the  mouth  of  the  Rio  di  San  Luca,  at  the 
corner  of  which  stands  the  Palazzo  Cavalli,  one  of  the  most 
ornate  palaces  of  the  Doge's  Palace  type ;  it  bears  on  a 
mantle  the  crest  of  its  owner,  a  horse,  an  arjitoirie  parlante 
or  rebus  revealing  the  name  of  its  owners.  The  next  Gothic 
palace  is  the  Tron,  with  curious  capitals  to  its  first-floor 
windows,  bearing  heads  in  the  centre. 

Foi  some  time  after  this  we  see  nothing  but  uninteresting 
late  palaces,— mere  town  houses  of  the  bad  age, — until  we 
pass  the  mouth  of  the  Rio  di  Ck  Michiel  and  that  of  the 
Rio  deir  Albero,  just  beyond  the  last  of  which  rises  the 
large  Palazzo  Corner=Spinelli,  in  the  style  of  the  Lom- 
bard!, with  a  handsome  staircase,  and  the  usual  Renaissance 
decoration  of  coloured  inserted  marbles. 

Steamboat  station  Sant'  Angelo. 

Pass  the  mouth  of  the  Rio  Sant'  Angelo.  Just  beyond  it, 
Palazzo  Garzotti,  14th-century  Gothic,  with  simple  windows, 
showing  very  slight  cusps  ;  the  balcony  is  modern.  This  is 
succeeded  by  a  suite  of  palaces  of  the  Mocenigo  family,  of 
uninteresting  late  Renaissance  architecture,  whose  only 
claim  to  notice  is  that  Byron  once  inhabited  one  of  them  ; 
the  lion's  head  is  conspicuous  on  them  all.  Beyond  these, 
very  dull  Renaissance  palaces,  the  best  of  which  is  the 
Contarini  dalle  Figure^  by  the  Lombardi,  so  called  from  the 
busts  with  which  it  is  adorned.  Then,  at  the  bend  of  the 
canal,  the  pretty  little  Gothic  Palazzo  Lezze,  spoiled  by  its 
ugly  balconies.  The  one  next  to  it  has  simple  Gothic 
windows, 


212  THE  GRAND   CANAL  [vill. 

The  next  bend  brings  us  abreast  with  the  immense  mass 
of  the  18th-century  Palazzo  Moro-Lin,  noticeable  for  its 
large  open  arcade  on  the  ground  floor,  but  looking  otherwise 
very  much  like  an  ehgible  and  commodious  modern  ware- 
house. 

Beyond  it,  with  an  extremely  white  facade,  and  shields 
blazoned  above  the  lateral  doorways,  towers  the  huge 
Palazzo  Grassi,  also  of  the  i8th  century,  and  greatly  re- 
sembling a  prosperous  club  in  Pall  Mall.  Just  after  passing 
this  we  open  out  the  little  Campo  San  Samuele,  with  the 
picturesque  church  and  campanile  of  the  same  name.  The 
Campo  is  flanked  by  buildings  with  Gothic  windows.  The 
corner  Palazzo  beyond  it  is  of  the  17th  century  ;  next  to  it 
a  garden,  prettily  balustraded.  After  this,  the  base  of  the 
houses  is  formed  by  the  colossal  substructures  of  a  vast 
palace  begun  for  the  Duke  of  Milan  in  the  15th  century, 
{Ca  del  Duca,)  but  ordered  to  be  discontinued  by  command 
of  the  signory  ;  the  only  part  of  the  palace  now  largely 
visible  is  the  corner  near  the  mouth  of  the  little  Rio  del 
Duca. 

Pass  this  Rio.  Beyond  it  we  reach  the  Palazzo  Falter, 
with  a  pretty  arcade  of  the  15th  century.  Then  comes  the 
Gmstiniani-Lolin,  another  of  Longhena's  monotonous  build- 
ings, much  less  decorated,  however,  than  was  his  wont. 

Skirt  the  Campo  San  Vitale,  with  the  church  and  cam- 
panile of  San  Vidal  in  the  background.  Pass  under  the 
Iron  Bridge.  The  large  and  well-kept  palace  which  rises 
beyond  it  is  the  Palazzo  Cavalli,  now  occupied  by  Baron 
Franchetti,  a  wealthy  Murano  glass-blower;  it  is  in  the 
Doge's  Palace  style,  with  softened  angles,  good  balustrades, 
and  an  arcade  on  the  first  floor  suggesting  the  transition 
from  the  windows  of  the  Frari  (see  later)  to  the  Doge's 
Palace  type. 

Pass  the  mouth  of  the  Rio  dell'  Orso.  Just  after  it, 
Palazzo  Barbara,  with  some  good  early-Gothic  windows  on 
its  second  floor ;  most  of  the  balconies  are  modernised  ; 
rich  coloured-marble  insertions.  Beyond  this  come  several 
uninteresting  late  buildings. 


VIII.]  THE   GRAND   CANAL  213 

Pass  the  mouth  of  the  Rio  del  Santissimo.  More  unin- 
teresting late  buildings.  Beyond  them,  a  garden,  after 
which  we  reach  the  huge  Palazzo  Comer  della  Cd  Grande^ 
a  stately  but  dull  building  by  Sansovino,  in  the  later  Re- 
naissance style. 

Pass  the  Rio  di  San  Maurizio  ;  at  its  corner,  a  little  Gothic 
palace. 

Steamboat  station  Santa  Maria  del  Giglio  ;  behind  it  a 
Gothic  palace,  almost  entirely  altered  into  Renaissance  in 
its  lower  portion. 

Pass  the  end  of  a  canal  now  built  over,  and  commanding 
the  front  of  Santa  Maria  Zobenigo.  Beyond  it,  Palazzo 
Gritti,  14th-century  Gothic,  with  simple  arches  below,  and 
those  above  somewhat  Saracenic  in  form ;  it  is  now  part  of 
the  Grand  Hotel. 

Pass  the  mouth  of  the  Rio  delle  Ostreghe.  Beyond  it, 
Palazzo  Fim,  Renaissance,  also  forming  part  of  the 
Grand  Hotel.  Then  Manolesso  Ferro,  14th-century  Gothic, 
largely  altered  into  Renaissance,  with  bad  balconies  ;  like- 
wise swallowed  up  by  the  devouring  maw  of  the  Grand 
Hotel. 

Just  after  this,  at  a  somewhat  lower  level,  we  perceive  the 
very  singular  front  of  the  little  *PaIazzo  Contarini=Fasan, 
religiously  described  by  the  gondoliers  as  "  Desdemona's 
Palace,"  whatever  that  may  mean.  It  has  extremely  ornate 
arches,  with  large  finials,  and  a  somewhat  Saracenic  curve  ; 
its  balconies  are  unique,  the  parapet  being  composed  of  a 
singular  wheel  ornament,  not  without  a  certain  meretricious 
beauty  ;  its  cornice  is  noteworthy.  This  dainty  little  house 
is  perhaps  the  most  popular  favourite,  after  the  Ca  d'Oro, 
on  the  whole  line  of  the  Grand  Canal ;  but  it  is  over- 
decorated,  though  in  many  ways  admirable.  The  lower 
Palazzo  next  to  it  has  good  balconies  and  typical  middle- 
Gothic  windows. 

Beyond  this,  we  pass  several  uninteresting  houses ;  then 
the  Palazzo  Tiepolo,  now  the  Hotel  Britannia.  The  rest  of 
this  part  of  the  Canal  is  mainly  occupied  by  hotels,  few  of 
which  have  any  artistic  pretensions.     The  Hotel  de  I'Europe, 


214  THE   GRAND   CANAL  [vill. 

however,   occupies    the    Palazzo    Giustiniani,   a    tolerable 
Gothic  building  of  the  15th  century. 

Beyond  the  Europa  come  the  gardens  of  the  Royal  Palace, 
with  the  Procuratie  Nuove  in  the  background  ;  then  the 
Zecca,  already  described,  the  lagoon  front  of  the  Libreria 
Vecchia,  the  Piazzetta,  with  the  granite  columns,  and  the 
Doge's  Palace.  At  its  far  end  we  pass  the  Rio  di  Palazzo  ; 
the  building  which  succeeds  it,  and  which  is  connected  with 
the  Palace  by  the  Bridge  of  Sighs,  being  the  Criminal 
Prison,  built  by  Antonio  da  Ponte  in  1589.  A  little  further 
on  comes  the  Hotel  Daniele,  formerly  the  Palazzo  Dandolo, 
a  good  Gothic  building  in  the  Doge's  Palace  style.  The 
Riva  degli  Schiavoni,  which  stretches  from  this  point  east- 
ward nearly  to  the  Public  Gardens,  has  comparatively  few 
points  of  interest ;  those  which  it  has  will  be  briefly  de- 
scribed or  alluded  to  elsewhere. 


One  of  the  most  notable  facts  about  the  palaces  of  the 
Grand  Canal  is  the  witness  which  they  bear  to  the  early 
civilization  and  peace  of  Venice.  In  northern  Europe, 
the  houses  of  medieval  nobles  are  dark  and  gloomy  castles  : 
even  at  Florence,  the  palaces  of  great  families  like  the 
Strozzi  and  the  Medici  (now  Riccardi)  are,  as  late  as  the  15th 
century,  built  mainly  for  defence,  with  single  heavy  external 
doors  or  gates,  no  openings  on  the  ground  floor,  and  small 
grated  windows  alone  on  the  entresol.  But  in  commercial 
and  oligarchical  Venice,  protected  as  she  was  by  her  moat 
of  lagoon,  and  firmly  ruled  by  her  strong  internal  govern- 
ment, even  the  old  Romanesque  palaces,  like  the  Fondaco 
dei  Turchi,  the  Loredan,  and  the  Farsetti,  are  already  open 
gentlemen's  houses,  "  built  for  pleasure  and  for  state,"  with 
free  means  of  access,  broad  arcades,  abundant  light,  and  a 
general  air  of  peace  and  security.  The  development  of  the 
later  Venetian  style,  as  seen  in  the  Libreria  Vecchia  and  the 
Procuratie,  from  this  early  open  and  aiiy  type,  is  well  worth 
noticing.  In  fact,  the  native  Venetian  ideal,  traversing  all 
styles,  persists  throughout,  in  spite  of  endless  changes  of 
architectural  fashion. 


IX 

THE   FRIARS'  CHURCHES 

r  T  N  almost  every  great  Italian  town,  there  exist  to  this 
L  i-  "^^y  two  immense  churches,  usually  dating  back  to 
the  13th  century,  and  belonging  respectively  to  the  Domini- 
cans and  the  Franciscans,  the  popular  preaching  orders  of 
the  middle  ages.  At  Florence,  these  two  churches  are  Santa 
Maria  Novella  and  Santa  Croce  \  at  Venice,  they  are  SS. 
Giovanni  e  Paolo,  and  the  Frari. 

The  rise  of  the  Friars  marks  the  beginning  of  the  great 
religious  revival  in  mediaeval  Europe,  which  dates  from  the 
first  quarter  of  the  13th  century.  Filled  with  a  fierce 
evangelising  zeal,  the  followers  of  Dominic  and  Francis 
spread  themselves  everywhere,  but  especially  in  the  crowded 
towns,  where,  like  the  early  Wesleyans  or  the  Salvation 
Army,  they  strove  to  address  in  particular  the  poorest  and 
most  outcast  classes.  Vowed  to  poverty  themselves,  they 
alleviated  the  poverty  and  sufferings  of  their  downtrodden 
neighbours.  As  they  preached  above  all  to  the  many,  they 
needed  large  churches,  the  services  in  which  were  at  first 
enthusiastically  attended.  But  in  commercial  Venice  the 
world  soon  conquered.  Both  their  great  cathedral-like 
buildings  became  before  long  the  favourite  resting-places  of 
the  rich  and  mighty  ;  and  the  Friars'  shrines  are  now  visited 
by  tourists  chiefly  for  the  sake  of  the  sumptuous  tombs  of 
Doges  and  Senators  which  they  contain,  or  else  for  the 
lordly  altar-pieces  presented,  half  in  devotion,  half  in  self- 
glorification,  by  wealthy  and  noble  families.  Both  orders 
had  other  and  more  strictly  missionary  churches  in  Venice, 


2I6  THE   FRIARS'    CHURCHES  [ix. 

of  which  we  have  ah'eady  seen  one,  the  Franciscan  San 
Giobbe  ;  the  remainder  may  be  visited,  if  time  permits,  at 
later  stages  of  your  exploration.] 

A.    SS.  GIOVANNI  E  PAOLO. 

[During  St.  Dominic's  own  lifetime,  the  Dominican  Order 

which  he  founded  sent  out  missionaries  to  all  parts  of 
Europe.  Already  in  1234  the  Brothers  possessed  an  oratory 
in  Venice  on  the  very  site  now  occupied  by  their  lordly 
church  :  but  it  was  small  and  unobtrusive.  In  that  year, 
however,  Doge  Giacomo  Tiepolo,  a  friend  of  the  order, 
dreamed  that  he  saw  this  little  preaching-hall  of  the  Domin- 
icans with  the  ground  all  round  it  (now  occupied  by  the 
church)  covered  with  a  celestial  growth  of  roses,  while  white 
doves  with  golden  crosses  on  their  heads  flitted  among  them. 
(Remember  this  dream  ;  it  will  help  to  explain  a  tomb  at 
the  door  of  the  church.)  Angels  then  descended  from 
heaven  with  censers,  and  a  voice  from  above  exclaimed, 
"  This  is  the  place  that  I  have  chosen  for  my  Preachers." 
(The  official  Dominican  title  is  "  Order  of  Preachers.")  The 
Doge  told  his  dream  to  the  Senate,  who  decided  that  forty 
paces  of  ground  should  be  given  to  enlarge  the  oratory  ;  and 
the  Doge  himself  later  increased  the  gift,  on  which  account 
he  is  regarded  as  the  pious  founder. 

The  church  was  begun  in  1234,  but  not  entirely  finished 
and  consecrated  till  1430.  It  thus  exemplifies  several  suc- 
cessive stages  in  the  evolution  of  Venetian  Gothic.  It  is  de- 
dicated to  Saints  John  and  Paul,  not  the  apostles,  but  the 
obscure  Roman  brothers,  Christian  soldiers  said  to  have 
been  martyred  under  Julian  the  Apostate.  (See  Mrs. 
Jameson.)  The  original  Dominicans  in  Venice  were  emi- 
grants from  the  monastery  of  St.  John  and  St.  Paul  at  Rome, 
and  they  carried  their  local  patrons  with  them.  The  true 
title  of  the  church  is  thus  Sa)iti  Giovanni  e  Paolo  ;  but  the 
Venetians  have  a  curious  habit  of  rolling  their  saints  into 
one,  and  generally  speak  of  it  as  San  Zanipolo. 

The  dead  bodies  of  the  Doges  lay  in  state  in  this  church  ; 
and    most  of   them,   after   the   date   of    its   erection,    were 


IX.]  THE   FRIARS'    CHURCHES  217 

buried  here.     There  was  no  more  room  by  that  time  in  St. 
Mark's  for  them. 

Bear  in  mind  also  that  this  is  a  Dominican  church,  and 
expect  to  find  Dominican  saints  and  symbols. 

Above  all,  San  Giovanni  e  Paolo  is  the  church  which  most 
commemorates  the  heroic  resistance  of  Venice  to  the 
Unspeakable  Turk.  Most  of  the  great  Christian  com- 
manders who  checked  the  disastrous  progress  of  the  Infidel 
in  the  Levant  are  buried  here ;  and  the  later  Doges  came 
yearly  on  the  7th  of  October  to  a  solemn  thanksgiving 
service  for  the  great  victory  in  the  Dardanelles  which  saved 
Europe.  It  is  likewise  the  chief  church  of  the  powerful 
Mocenigo,  Morosini,  Venier,  and  Vendramin  families.] 


San  Giovanni  e  Paolo  may  be  approached  either  by  gon- 
dola, or  (better)  on  foot  from  the  Piazza.  If  the  latter,  pass 
under  the  gilded  Clock  Tower  and  along  the  Merceria  as 
far  as  the  church  of  San  Giuliano.  Turn  here  to  the  R. 
(Embedded  in  the  wall  of  the  house  on  your  L.  just  before 
you  reach  the  church  is  a  small  and  good  15th-century  relief 
of  St.  George  and  the  Dragon,  highly,  perhaps  too  higiily, 
praised  by  Mr.  Ruskin.)  Continue  on  to  the  back  of  the 
church,  and  proceed  by  the  straight  narrow  street  (Calle  di 
Guerra)  as  far  as  the  white  church  of  Santa  Maria  Formosa. 
There,  turn  to  the  L.,  and  cross  the  pretty  little  Campo 
obliquely  into  the  Calle  Lunga.  Do  not\.2ks.  the  last  turn  to 
the  L.  before  you  reach  the  first  bridge,  (which  the  map  will 
show  you  to  be  the  shortest  way  to  San  Giovanni  :)  it  is 
narrow  and  malodorous.  Instead  of  that,  continue  along 
the  Calle  Lunga  until  you  reach  the  first  canal,  (Rio  di  San 
Severo,)  which  follow,  and  cross  two  bridges  in  a  straight 
line,  until  you  come  out  at  the  atrocious  baroque  facade  of 
the  Ospedaletto :  "  diseased  figures  and  swollen  fruit," 
Ruskin  well  calls  its  decorations.  Here,  the  vast  and  lofty 
brick  apse  of  San  Giovanni  e  Paolo  looms  up  picturesquely 
on  the  L.  before  you.  This  is  the  most  imposing  portion  of 
the  exterior  of  the  building,  striking  in  virtue  of  its  immense 


2l8  THE   FRIARS'    CHURCHES  [ix. 

height  and  the  absence  of  buttresses  ;  and  though  recently 
restored,  it  is  still  very  beautiful.  Go  round  to  the  back 
and  look  at  it  ;  the  light  brick  material  enables  Venetian 
churches  to  raise  these  lofty  unbuttressed  apses,  difficult  to 
attain  in  solid  stone.  Then  continue  to  the  L.  into  the  open 
Campo  di  San  Giovanni  e  Paolo,  which  contains  the  mag- 
nificent **equestrian  statue  of  Bartolommeo  Colleonl, 
and  also  the  fine  early  Renaissance  fagade  of  the  5cuola  di 
San  Marco.  As  I  know  I  cannot  induce  you  to  enter  the 
church  till  you  have  examined  these,  I  may  as  well  give  way, 
seat  you  quietly  on  the  steps  of  the  bridge,  and  say  here 
what  there  is  to  say  about  them. 

Bartolommeo  Colleoni  was  a  famous  condottiere ,  or  soldier 
of  fortune,  in  the  service  of  Venice.  On  his  death,  in  1475, 
he  left  the  whole  of  his  immense  fortune  to  the  Repubhc,  on 
condition  that  his  statue  should  be  erected  in  the  Piazza  San 
Marco  (like  Gattamelata's  before  the  Santo  at  Padua).  This 
being  contrary  to  law,  the  senate  trickily  evaded  the  condi- 
tion by  erecting  it  in  the  Campo  of  the  Scuola  di  San  Marco. 
The  statue  was  first  designed  by  Andrea  Verrocchio,  the 
Florentine  painter  and  sculptor,  and  master  of  Leonardo  da 
Vinci.  Andrea  died  before  it  was  completed,  (after  having 
once  broken  the  model  in  a  quarrel  with  the  signory,)  and 
the  task  of  finishing  the  work  was  given  to  the  Venetian 
artist,  Alessandro  Leopardi^  (modeller  of  the  fine  bronze  flag- 
staffs  on  the  Piazza,)  to  whom  the  statue  as  it  stands  is  mainly 
due.  It  was  he  also  who  designed  the  beautiful  slender 
pedestal.  With  the  possible  exception  of  Donatello's 
Gattamelata,  in  front  of  the  Santo  at  Padua,  this  is  doubt- 
less the  noblest  equestrian  statue  in  the  world.  Its  effect  is 
positively  increased  by  the  slimness  and  evident  inadequacy 
of  the  graceful  pedestal,  which  makes  the  rider  look  as 
though  he  were  about  to  walk  his  horse  unconsciously  over 
a  yawning  precipice.  The  face  and  figure  form  a  perfect 
embodiment  of  the  ideal  of  an  Italian  soldier  of  fortune — 
erect,  stern-featured,  able,  remorseless,  with  deep-set  eyes, 
and  haughty  expression.  Examine  it  on  all  sides.  The 
rich  detail  lavished  on  the  accessories  heiirhtcns  the  effect  of 


IX.]  THE   FRIARS'    CHURCHES  219 

the  stern  simplicity  shown  in  the  horse  and  rider.  There  is 
no  posturing. 

A  little  to  the  E.  of  the  statue  is  a  fine  well-head,  with 
amorini,  of  Renaissance  workmanship. 

Now,  sit  down  again  near  the  bridge  over  the  canal,  and 
look  up  at  the  facade  of  the  Scuo!a  di  San  Marco,  erected 
in  1485  by  Martino  Lombardo,  and  forming  an  admirable 
specimen  of  the  peculiar  Venetian  style  of  early  Renaissance 
architecture  introduced  by  the  Lombardi.  It  should  be  com- 
pared with  the  extremely  similar  front  of  San  Zaccaria,  in 
order  to  form  a  general  idea  of  their  principles  of  decoration. 
The  facade  is  richly  coated  with  coloured  marble,  and  its 
sculptured  subjects  are  those  suited  to  its  original  object, 
that  of  the  charitable  Fraternity  of  5t  Mark.  It  is  now 
used  as  a  public  hospital,  (Ospedale  Civile.) 

Topping  the  7nain  lunette  is  a  figure  of  the  patron,  St. 
Mark,  with  statues  on  either  side,  representing  our  now 
familiar  friends,  the  Theological  and  Cardinal  Virtues. 
Beneath  stands  the  lion  of  St.  Mark,  with  the  Venetian 
motto.  Over  the  mam  portal,  Charity  carrying  a  child  ;  in 
the  lunette  of  the  portal,  St.  Mark  enthroned,  surrounded  by 
the  brethren  of  the  Fraternity.  On  either  side  of  the  portal, 
lions  in  feigned  perspective.  On  the  ground  floor  to  the  R. 
are  perspective  reliefs  of  the  miracles  of  the  patron  saint,  in 
picture-like  loggias ;  L.,  he  cures  the  cobbler  Anianus  ;  R., 
he  baptises  at  Alexandria  ;  in  both  cases,  as  usual,  the 
pagans  are  figured  as  Mahommedan  orientals. 

The  fine  early-Renaissance  decorative  work,  which 
strikes  the  key-note  of  the  Lombardi  treatment,  should  be 
carefully  examined  throughout,  both  with  the  naked  eye  and 
with  an  opera-glass. 

This  was  one  of  the  greatest  among  the  Venetian  Scuolej 
from  it  came  several  fine  works  at  the  Academy,  relating  to 
St.  Mark — the  glorious  Paris  Bordone  of  the  Doge  and  the 
Fisherman,  the  Tintoretto  of  St.  Mark  and  the  Tortured  Slave, 
as  well  as  the  Mansuetis  in  the  apse  of  the  suppressed  church, 
and  several  other  pictures  duly  noted  in  their  own  places. 
These  once  made  it  a  treasure-house  of  art,  like  San  Rocco. 


220  THE   FRIARS'    CHURCHES  [ix. 

I  do  not  advise  a  visit  to  the  interior;  but  you  may  stand 
on  the  bridge,  (decorated  with  ugly  grotesque  heads  of  the 
worst  period,)  in  order  to  get  a  view  of  the  side  fagade  to- 
wards the  canal. 

You  may  now  proceed  to  the  examination  of  San  Gio= 
vanni  e  Paolo  itself,  with  which  of  course  the  Scuola  has 
nothing  more  than  a  topographical  connection. 

The  West  Front,  unfinished,  in  brick,  is  heavy  and 
featureless,  but  has  a  fine  late  portal,  Gothic  in  form  though 
Renaissance  in  treatment.  L.  of  the  door  stands  the 
sarcophagus  of  the  founder^  Doge  Giacomo  Tiepolo,  and  his 
brother,  Doge  Lorenzo  Tiepolo,  bearing  a  curious  long  Latin 
verse  inscription,  and  a  shorter  one  below,  which  states  that 
"the  Lord  Giaconio  died  in  1251  ;  the  Lord  Lorenzo  in 
1275."  At  the  sides  are  angels  swinging  censers  ;  above, 
between  two  ducal  caps  or  berrettos,  ai'e  doves  crowned  with 
crosses,  both  these  as  in  the  Doge's  dream.  R.  of  the  door 
is  the  Angel  of  the  Annunciation,  good  semi-classical  work 
of  the  7th  century  ;  the  Madonna  corresponding  to  it  is  now 
missing.  Further  R.,  Daniel  in  the  lions'  den,  of  the  8th 
century,  treated  still  in  the  simple  old  Roman  fashion. 
Beneath  are  the  plain  sarcophagi  of  early  Doges  ;  note  the 
archaic  simplicity  of  these  for  comparison  with  the  ornate 
fiddle-faddle  tombs  of  their  successors  in  the  interior. 

The  architecture  of  the  south  side,  (best  viewed  from 
below  the  step  of  the  Campo,)  is  vast  and  imposing,  with 
its  lofty  dome,  chapels,  and  transepts,  but  has  little  beauty. 
Those,  however,  who  approach  by  water  should  walk  along 
it  and  through  the  narrow  street  at  the  end,  in  order  to  view 
the  splendid  apse  already  noticed.  The  other  side  of  the 
church  is  built  in  to  the  now  secularised  monastic  buildings. 
Several  early  sarcophagi  and  fragments  of  sculpture  (worth 
inspection)  are  embedded  in  the  wall  of  the  south  side 
also. 

The  interior  is  unimpressively  striking  by  its  colossal 
size,  and  the  vastness  of  its  parts,  but  has  been  much  dis- 
figured by  rococo  additions.  The  lofty  nave  and  aisles, 
however,  are  effective  by  virtue  of  their  dignity  and  hciglit, 


IX.]  THE   FRIARS'    CHURCHES  221 

though  they  lack  the  crowded  perspective  of  numerous  rows 
of  columns.  The  general  plan  is  simple  : — a  Nave  ; 
single  Aisles  (with  large  chapels  built  out  on  the  S.  side  ;) 
short  Transepts  ;  an  Apse  ;  and  two  Apsidal  Chapels  on 
each  side  of  it. 

I  advise  the  visitor  to  walk  straight  up  the  church  at  first, 
and  at  once  enter  the  apse,  which  is  both  the  earliest  and 
most  important  part  of  the  building,  and  also  contains  the 
best  tombs.  You  will  see  them  thus  before  you  are  tired. 
Give  the  Sacristan  half  a  franc  and  dismiss  him,  or  he  will 
bother  you  with  "  information." 

The  High  Altar  is  an  ugly  rococo  erection  of  1619,  with 
Our  Lady,  angels,  and  saints,  only  interesting  because  the 
extreme  figures  to  L.  and  R.  below,  in  Roman  military 
costume,  represent  the  two  sainted  martyrs  John  and  Paul 
(see  Introduction)  to  whom  the  church  is  dedicated.  These 
are  the  only  figures  of  the  nominal  patrons  which  I  have 
been  able  to  discover  in  the  building.  The  Dominicans  do 
not  seem  to  have  thought  much  of  them. 

Wall  on  the  R.,  \si  tomb,  fine  florid  Gothic  **monument 
of  Doge  Michele  Morosini,  (d.  1382,)  the  most  ornate  of  all 
the  monuments  in  the  pointed  style,  and  one  which  well 
marks  the  increasing  sumptuousness  of  Venetian  life, 
especially  when  compared  with  that  of  Doge  Giacomo  Tie- 
polo  outside  the  church  and  Doge  Marco  Corner  opposite. 
Below,  the  Doge  himself  lies  dead,  with  his  head  on  a  pillow, 
his  serene,  resolute,  Dante-like  features  exquisitely  sculp- 
tured. The  seven  pedestals  below  once  supported  the  Seven 
Virtues — their  earliest  appearance  on  a  true  Venetian  tomb. 
At  the  side,  angels.  Behind  is  a  charming  *mosaic  with  the 
Crucifixion,  St.  John  and  Our  Lady  as  usual ;  the  Archangel 
Michael  (the  Doge's  personal  patron  saint)  and  the  Virgin 
recommend  the  kneeling  figure  of  the  prince,  in  ducal  cap 
and  robe,  to  the  mercy  of  the  crucified  Saviour  :  on  the  ex- 
treme R.,  St.  John  the  Baptist  similarly  recommends  the 
kneeling  Dogaressa.  Above  is  a  relief  of  Christ,  and  on 
the  finial  at  the  apex,  the  Doge's  patron  saint,  St.  Michael, 
once  more,  with  the  conquered  dragon.     At  the  sides  are 


222  THE  FRIARS'   CHURCHES  [ix. 

niched  statues  of  saints,  surmounted  by  an  Annunciation. 
Study  the  whole  as  a  characteristic  specimen  of  the  ornate 
late-Gothic  tombs,  which  strike  the  keynote  for  later  monu- 
ments. 

L.  of  this,  the  late-Renaissance  tomb  of  Doge  Leonardo 
Loredan,  (d.  1521  ;  but  this  monument  was  not  erected  by 
his  family  till  1572.)  The  statue  of  the  Doge  is  by  Cam- 
pagna  ;  the  allegorical  figures  are  uninteresting. 

L.  wall,  near  the  altar,  *tomb  of  Doge  Andrea  Vendra- 
min,  (d.  1478,)  by  Alessandro  Leopardi.  This  is  a  beautiful 
and  costly  piece  of  early-Renaissance  architecture,  with  ex- 
quisite and  delicately-chiselled  sculpture.  In  the  centre  lies 
the  Doge,  recumbent  on  a  couch  supported  by  eagles  ;  the 
face,  however,  has  only  one  side  sculptured,  that  turned  to- 
wards the  spectator.  Behind  are  three  figures  of  pages  or 
attendants  ;  beneath,  in  niches,  the  Virtues,  dressed  now 
like  heathen  goddesses,  and  hardly  distinguishable  from  one 
another.  R.  and  L.  two  youthful  military  figures,  splendid 
soulless  specimens  of  Renaissance  workmanship.  Are  they 
St.  George  and  St.  Theodore — or  only  pages  ?  I  think,  the 
latter.  Above  them,  an  Annunciation,  in  two  compartments. 
In  the  lunette  under  the  arch  between  these,  St.  Mark  re- 
commends the  kneeling  Doge  to  Our  Lady.  The  outermost 
figures  of  St.  Catharine  and  the  Magdalen,  below,  do  not 
belong  to  the  original  composition — they  are  later  and  in- 
ferior works,  substituted  for  Adam  and  Eve  (by  Tullio  Lom- 
bardo)  of  great  beauty,  which  were  removed  as  unsuitable 
for  a  church  ;  they  are  now  in  the  Palazzo  Vendramin- 
Calergi.  All  the  details  of  this  beautiful  tomb,  somewhat 
unjustly  depreciated  by  Ruskin,  should  be  carefully  ex- 
amined. It  shows  still  better  the  increase  of  the  pomp  of 
state  in  the  Republic.  Note  especially  the  predominance  of 
symbols  marking  a  sense  of  the  naval  supremacy  of  Venice. 

L.  of  this,  pure  Gothic  tomb  of  Doge  Marco  Corner,  (d. 
1368,)  with  two  angels.  Madonna  and  Child,  and  two  saints, 
(Mark  and  Peter,)  under  beautiful  Gothic  niches,  probably 
by  the  Massegne.  (The  connecting  portion  between  these 
saints   and   the  recumbent   figure   has   probably   been   de- 


IX.]  THE   FRIARS'    CHURCHES  223 

stroyed.)  The  severe  simplicity  of  this  earlier  work  con- 
trasts with  the  florid  character  of  Morosini's  tomb,  opposite, 
and  still  more  with  that  of  Andrea  Vendramin.  The  grow- 
ing boastfubiess  of  the  Renaissance  can  well  be  traced  in 
this  church  and  its  monuments. 

Now,  return  to  the  main  portal^  and  examine,  first,  the 
R.  or  South  Aisle. 

R.  of  the  door,  on  the  end  wall,  the  immense  tomb  ot 
Doge  Pietro  Mocenigo,  by  Pietro  Lombardo  and  his  sons, 
Tullio  and  Antonio.  This  is  another  specimen  of  the  sump- 
tuous and  costly  Renaissance  monuments,  exquisite  in 
decoration  and  splendid  in  finish,  but  wholly  lacking  in 
spiritual  feeling.  Three  figures  of  captives,  (representing, 
I  think,  the  three  ages  of  man,)  support  the  sarcophagus  of 
the  Doge,  which  bears  an  inscription  in  Latin,  "  From  the 
spoils  of  the  enemy."  (Note  in  this  and  later  tombs  the 
increasing  desire  to  veil  the  nature  and  shape  of  the  sarco- 
phagus by  decorative  adjuncts )  Above  stands  Pietro 
himself,  with  two  pages  ;  by  the  side  are  armed  allegorical 
figures  ;  and  over  the  top  is  the  Doge's  patron  St.  Peter. 
The  relief  beneath,  which  is  almost  the  only  piece  of 
Christian  symbolism  on  the  monument,  represents  the 
Resurrection;  it  is  counteracted  below  by  Hercules  with  the 
lion,  and  the  Hydra.  You  will  see  in  many  of  these  later 
tombs  how  the  recumbent  figure  of  the  deceased  has  risen 
from  the  sarcophagus,  and  now  stands  erect  above  it. 

On  the  south  wall,  (Right  Aisle,)  relief  of  Christ  en- 
throned, between  two  flying  angels,  forming  the  tomb  of 
Doge  Ranieri  Zen,  (d.  1268.)  Above  it,  a  fine  Renaissance 
sarcophagus,  of  the  school  of  Leopardi,  highly  decorated, 
marks  the  tomb  of  Admiral  Girolamo  Canal,  (d.  1535.) 

ist  altar,  altar-piece  by  Bissolo,  Our  Lady  enthroned, 
with  Fraticiscan  saints,  Francis  and  Bernardino ;  at  the 
sides,  the  four  Fathers  of  the  Church  (Jerome,  Augustine, 
Gregory,  Ambrose :)  behind,  St.  John  the  Baptist  and 
St.  Peter.  An  intrusive  Franciscan  work  in  this  Dominican 
church  :  a  modern  substitution  :  it  replaces  a  Bellini  burnt 
in   1867  :  see  later. 


224  THE   FRIARS'    CHURCHES  [iX, 

The  next  large  monument,  over  the  Confessional,  is  the 
tomb  of  Marc'  Antonio  Bragadino,  the  heroic  defender  of 
Famagosta,  in  Cyprus,  against  the  Turks  ;  (d.  1596.)  Un- 
interesting in  itself,  this  big  and  ugly  work  commemorates  a 
singular  act  of  treachery  ;  Bragadino,  who  had  surrendered 
on  terms,  was  tortured  and  flayed  alive  by  the  Unspeakable, 
as  the  picture  above  shows. 

The  2nd  altar,  that  of  St.  Vincent,  has  a  much-debated 
altar-piece,  variously  attributed  to  Carpaccio,  Alvise  Vi- 
varini,  and  others  :  it  seems  to  me  to  be  by  different  hands. 
Below,  St.  Vincent,  the  patron  ;  L.,  St.  Christopher  wading 
with  the  infant  Christ,  and  R.,  St.  Sebastian  :  above,  a 
Pietk  ;  at  its  sides,  an  Annunciation  in  two  sections. 

Beyond  it,  tomb  of  the  Procurator  Alvise  Michiel,  (1589.) 

Pass  the  gaudy  and  over-decorated  chapel  beyond  this, 
and  stand  for  a  moment  opposite  the  truly  appalling 
monument  of  Doge  Bertuccio  Valier,  his  son  Silvestro, 
and  his  son's  wife  Elizabetta  Ouirini,  (1708.)  This  is  the 
largest  tomb  in  the  church,  and  a  unique  monument  of 
atrocious  taste.  A  huge  dingy-yellow  curtain  is  sustained 
by  cupid-Iike  angels,  the  lineal  descendants  of  the  beautiful 
and  simple  Pisan  angels  who  draw  the  curtains  on  the  tomb 
of  Doge  Andrea  Dandolo  in  the  Baptistery  of  San  Marco. 
Note  hereafter  the  gradual  evolution  of  these  angels  :  many 
examples  in  Venice  will  help  you.  The  theatrical  figures  of 
the  two  Doges,  and  of  the  vulgar,  ugly,  and  over-dressed 
old  Dogaressa,  in  i8th  century  costume,  are  as  bad  as  art 
can  make  them.  The  accessories  match  in  tastelessness  the 
central  subject.  Flounces  and  furbelows  ;  virtues,  victories, 
genii,  and  lions.     All  bombast  and  rhodomontade. 

Beyond  these  opens  the  chapel  of  St.  Dominic,  founder 
of  the  order,  enriched  with  six  dull  reliefs  in  bronze  by 
Mazza,  (1670,)  telling  in  theatrical  style  the  usual  episodes 
from  the  life  of  St.  Dominic. 

The  R.  Transept  has  a  fine  16th-century  stained-glass 
window,  with  St.  George,  St.  Theodore,  and  other  military 
and  Franciscan  saints,  after  a  design  by  the  Vivarini. 

R.   wall   of  Transept,  under  glass,  *Barlolommeo  Vi- 


IX.]  THE   FRIARS'    CHURCHES  225 

varini,  noble  figure  of  St.  Augustine,  one  of  the  best  works 
of  the  master.  Beyond  it,  perhaps  by  Cima,  Coronation  of 
the  Virgin,  in  an  assemblage  of  saints  and  angels.  Above 
this,  gilt  equestrian  monument  of  Nicolo  Orsini,  general 
of  the  Republic  in  the  war  against  the  League  of  Cambrai, 
(d.  1509,)  obviously  suggested  by  the  Colleoni  outside  the 
church.  End  wall  of  Transept,  is(  altar,  *  Lorenzo 
Lotto,  Glory  of  St.  Antoninus,  of  Florence,  one  of  the 
painter's  finest  works,  but  unfortunately  darkened,  and  ill 
seen  in  its  present  position.  Angels  whisper  inspiration  to 
the  enthroned  saint  ;  beneath  him,  the  priests,  his  deputies, 
receive  petitions  and  distribute  alms  to  the  poor,  assembled 
at  the  base  of  the  work.     Fine  silvery  colour. 

The  door  of  exit  under  the  window  is  formed  by  the 
tomb  of  General  Dionigi  Naldo,  (d.  15 10.) 

Altar  to  L.  of  the  door,  altar-piece  by  Rocco  Marconi, 
Christ  with  St.  Peter  and  St.  Andrew.  There  is  a  replica  of 
this  work  in  the  Academy,  where  it  can  be  seen  to  greater 
advantage. 

ist  Choir  chapel,  (Chapel  of  the  Crucifix,)  fine  re- 
cumbent Gothic  tomb  of  Paolo  Loredan,  (1365.)  This  is 
a  knightly  image  of  a  sort  more  common  in  the  north  than 
in  Italy;  on  the  simple  sarcophagus,  his  name- saint,  St. 
Paul,  and  two  angels. 

2nd  Chapel  (of  St.  Mary  Magdalen.)  On  the  altar,  a 
late  Renaissance  statue  of  the  Magdalen,  only  recognised 
as  such  by  her  pot  of  ointment  ;  otherwise,  a  mere  volup- 
tuous Venetian  courtesan  :  the  framework  is  better.  L. 
wall,  monument  of  Marco  Giustiniani,  ambassador  of  the 
Republic  to  the  Scaligers,  (d.  1347,)  a  plain  sarcophagus, 
with  a  Madonna  and  Child,  and  an  Annunciation,  supported 
by  poor  grotesque  heads.  Bear  in  mind  the  relative  dates 
of  these  sarcophagi,  and  their  gradual  enrichment,  as  well 
as  the  evolution  of  accessories. 

Beyond  the  apse  :  ijit  Chapel  (of  the  Trinity  ;)  Z.  wall, 
monument  of  Andrea  Mrrosini,  (1347;)  again  a  sarcophagus 
with  Madonna  and  Annunciation. 

2nd  Chapel :  R.  wall,  knightly  tomb  of  Giacopo  Cavalli. 

G.  V.  p 


226  THE  FRIARS'    CHURCHES  [iX. 

— full  armour,  face  hardly  seen  through  helmet  :  dog  and 
lion.  He  was  general  of  Venetian  troops  in  the  war 
against  Genoa,  known  as  the  war  of  Chioggia,  (d.  1394.) 
The  work  is  said  in  an  inscription  in  Venetian  dialect  to 
be  by  Paolo  di  Jacobello,  (one  of  the  Massegne  ;)  it  has  the 
symbols  of  the  evangelists  and  two  saints  (the  two  Jameses?), 
with  brackets  which  once  supported  Faith,  Hope,  Charity. 
This  is  a  noble  tomb,  still  retaining  much  of  its  fine  colour. 
L.  wall;  monument  of  Doge  Giovanni  Dolfin,  (1361  :)  no 
inscription,  but  known  by  the  arms,  three  dolphins  :  a  fine 
sculptured  sarcophagus:  centre,  Christ,  with  angels  opening 
curtains,  (note  these,)  and  diminutive  figures  of  the  Doge 
and  Dogaressa  :  at  the  ends,  saints  (?)  male  and  female 
(perhaps  patrons  of  the  Doge  and  Dogaressa  :)  in  the 
panels,  L.,  Arrival  and  Adoration  of  the  Magi  ;  R.,  Death 
of  the  Virgin,  all  of  which  are  worthy  of  close  attention. 

L.  Transept. 

The  door  in  this  Transept  gives  access  to  the  Chapel  of 
the  Rosary  (closed)  ;  the  Sacristan  will  try  to  make  you 
enter  it — resist  him  and  he  will  flee  from  you.  This  was 
once  the  richly  adorned  chapel  of  the  great  Dominican  cult— 
the  Rosary.  It  now  contains  nothing  but  the  charred  and 
blackened  remains  of  some  very  base  bas-reliefs  of  the 
rococo  period,  much  admired  for  their  intricate  and  useless 
carving.  The  chapel  was  accidentally  burned  down  on 
August  i6th,  1867  ;  unfortunately,  it  contained  at  the 
moment  two  of  the  finest  pictures  in  the  church,  a  Madonna 
by  Bellini,  and  Titian's  famous  Death  of  St.  Peter  Martyr, 
which  had  been  placed  in  it  temporarily. 

Over  the  door  which  leads  to  this  Chapel  is  the  tomb  of 
Doge  Antonio  Venier,  1400,  with  numerous  figures  of  saints, 
in  beautitul  niches,  in  the  style  of  the  Massegne.  L.  of  the 
door,  tomb  of  the  same  Doge's  wife  Agnese,  and  of  their 
daughter  Orsola,  (141 1)  ;  a  fine  piece  of  architectural  work, 
with  an  Annunciation,  and  a  relief  of  Our  Lady  and  Child 
between  St.  Paul  nnd   St.  John  the  Evangelist. 


IX.]  THE   FRIARS'    CHURCHES  227 

L.  wall  of  Transept,  poor  tomb  of  Leonardo  Prato, 
knight  of  Rhodes,  with  an  equestrian  figure  (151 1.) 
Equestrian  figures  are  common  here,  all  suggested  by  the 
inimitable  Colleoni  :  feeble  imitations. 

The  L.  Aisle  has  in  its  isi  bay  nothing  of  interest. 
Beyond  the  first  door,  stone  tomb  of  Doge  Pasquale 
Malapiero,  of  fine  Florentine  earlier- Renaissance  workman- 
ship ;  the  Doge  lies  on  a  sarcophagus  supported  by  griffons, 
under  curtains  ridiculously  suggestive  of  a  shower-bath  ; 
there  are  no  angels  ;  above  are  a  Pieta  and  figures  of  Virtues, 

Next  to  it,  tomb  of  Giovanni  Battista  Bonzio,  a  senator, 
(d.  1508,)  in  the  usual  Renaissance  style,  with  a  figure  of 
the  deceased,  and  the  now  inevitable  Virtues.  Beneath  this 
tomb  is  an  arcade,  with  statues  of  two  great  Dominican 
saints,  St.  Thomas  Aquinas  and  St.  Peter  Martyr,  The 
arcade  contains  in  the  arch  to  the  R.,  the  beautiful  tomb  of 
Doge  Michele  Steno,  (1413,)  placed  low  enough  to  admit  of 
examination  ;  this  is  only  a  portion  of  the  original  work, 
transferred  here  from  the  demolished  church  of  the  Servites  : 
the  pleasing  Latin  inscription  is  worth  reading.  The  arch 
to  the  L.  has  the  Renaissance  tomb  of  Alvise  Trevisan,  1528, 
an  only  son  whom  his  mourning  parents  have  thus  com- 
memorated. 

The  next  monument  is  the  gilt  equestrian  statue  of 
Pompeo  Giustiniani,  1616.  Beneath  it  is  the  unobtrusive 
tombstone,  containing  the  epitaph  alone,  of  Doge  Giovanni 
Dandolo,  (1289.)  Then  comes  the  admirable  transitional 
monument  of  Doge  Tomaso  Mocenigo,  (1423,)  under  a 
Gothic  tabernacle,  with  the  usual  recumbent  effigy  (fine)  of 
the  Doge  lying  dead  on  a  sarcophagus,  containing  Virtues 
in  Renaissance  niches,  together  with  two  armed  figures  of 
mock-antique  type  at  the  angles.  Here  angels  withdraw  the 
curtains,  the  evolution  of  these  angels  from  the  Pisan 
original,  and  their  final  disappearance  (as  in  the  Valier 
atrocity)  being  well  studied  in  this  church  and  at  the  Frari  ; 
above  are  saints   in  niches.      Observe  the  intermixture   of 


228  THE   FRIARS'    CHURCHES  [ix. 

Gothic  and  classical  forms  and  mouldings  in  the  tomb  before 
which  you  are  now  standing  ;  it  is  by  the  Florentine  sculp- 
tors Piero  di  Niccolo  and  Giovanni  di  Martino,  who  were 
among  the  first  introducers  of  Renaissance  art  in  Venice. 

R.  of  the  next  altar,  monument  of  Doge  Nicolo  Marcello, 
1474,  by  Alessandro  Leopardi,  brought  here  from  the  de- 
moHshed  Servite  church  of  Santa  Marina.  This  is  another 
good  specimen  of  the  early  Renaissance  tomb,  with  four 
figures  of  Virtues  in  the  niches,  and  a  relief  of  the  kneeling 
Doge  before  Our  Lady  in  the  lunette,  accompanied  by 
patron  saints  of  Venice.  The  altar  close  to  this  has  an 
early  copy  of  Titian's  Death  of  St.  Peter  Martyr,  by  Cigoli, 
presented  by  King  Victor  Emmanuel  in  place  of  the 
original,  destroyed  in  the  fire.  St.  Peter  Martyr  was  of 
course  one  of  the  chief  lights  of  the  Dominican  order.  L. 
of  the  altar,  a  boastful  and  ugly  gilt  equestrian  statue  forms 
the  monument  of  Orazio  Baglioni,  (161 7,)  represented  as 
riding  over  fallen  enemies.  The  modern  marble  tomb,  L. 
of  this  statue,  tasteless  enough  in  itself,  commemorates  the 
two  brothers  Bandiera,  Italian  patriots  done  to  death  by 
Austria  in  1844  through  the  cruel  connivance  of  the  English 
government  with  foreign  despotism.  Over  the  next  altar^ 
statue  of  St.  Jerome  by  Alessandro  Vittoria. 

The  end  wall  of  the  nave  is  occupied,  in  its  \st  arch, 
by  the  tomb  of  Doge  Giovanni  Mocenigo,  (1485,)  a  work  of 
TuUio  and  Antonio  Lombardo.  This  is  a  characteristic 
middle-Renaissance  monument,  showing  progressive  de- 
terioration in  taste,  though  still  splendid  in  workmanship 
and  pure  in  decoration  :  it  is  of  a  type  with  which  the  reader 
will  now  be  familiar,  having  on  a  sarcophagus  the  recum- 
bent figure  of  the  Doge,  who  is  presented,  in  the  lunette,  to 
the  Madonna  and  Child  by  his  patron  saints  ;  at  the  sides 
are  Virtues,  personally  indistinguishable,  and  at  the  base, 
two  reliefs  of  the  Baptism  of  Christ  and  of  St.  Mark  baptis- 
ing at  Alexandria,  this  last  in  compliment  to  St.  John  the 
Baptist,  the  Doge's  patron.  Observe  in  the  former  how  the 
three  angels  on  the  bank,  once  adult  in  form,  have  now 
shrunk  into  meaningless  little  children. 


IX.]  THE  FRIARS'    CHURCHES  229 

The  entire  space  between  this  Mocenigo  tomb  and  the 
far  finer  opposite  one  of  Doge  Pietro  Mocenigo  is  occupied 
by  a  third  colossal  work,  dedicated  to  the  same  family  and 
representing  the  tombs  of  Doge  Luigi  Mocenigo,  (1576,) 
and  his  Dogaressa,  as  well  as  that  of  Doge  Giovanni  Bembo, 
with  their  recumbent  figures  and  statues  of  Christ,  etc. 
The  reliefs  represent  their  tenure  of  office  (the  Doge  at 
prayer,  the  Doge  sitting  in  council).  The  whole  expanse  of 
this  great  West  Wall  is  thus  given  over  entirely  to  the 
glorification  of  the  powerful  and  wealthy  Mocenigo  family. 

For  convenience  of  identification  on  a  first  visit,  I  have 
treated  all  the  tombs  in  this  church  in  local  order  only,  but 
the  visitor  who  has  time  for  careful  study  will  find  it  useful 
to  compare  them  in  their  chronological  sequence,  and 
thus  to  gain  a  just  idea  of  the  rise,  development,  culmina- 
tion, decline,  and  final  degradation  of  the  sculptor's  art  in 
Venice.  Fine  criticisms  of  the  most  important  tombs,  and 
a  good  sketch  of  their  development,  are  given  by  Ruskin. 

The  great  Dominican  monastery  behind  the  church  is 
now  secularised. 

B.    THE  FRARI 

[The  Franciscans  or  Frati  Minori  di  San  Francesco  were 
settled  at  Venice  as  early  as  1227.  In  1250,  having  by  that 
time  begged  sufficient  funds,  they  began  the  erection  of 
their  great  church,  adjoining  their  friary.  It  was  completed 
about  1338,  (by  Fra  Pacifico,)  and  dedicated  to  Our  Lady, 
under  the  title  of  Santa  Maria  Gloriosa  dei  Frari.  A  few 
Doges  are  buried  here  ;  but  the  monuments  are  chiefly 
those  of  great  Venetians,  military,  naval,  or  administrative, 
and  of  painters  or  sculptors.  Families  were  then  divided  V 
into  friends  of  the  Franciscans  and  of  the  Dominicans. 
Bear  in  mind  that  this  is  a  Franciscan  church,  and  expect 
to  find  Franciscan  saints  and  symbols. 

Do  not  visit  the  Frari  with  this  book  till  after  you  have 
seen  San  Zanipolo  (Giovanni  e  Paolo.)] 


The  Frari  can  be  approached  either  by  gondola  direct, 


230  THE   FRIARS'    CHURCHES  [ix. 

or  by  the  steamboat  to  San  Toma  station,  as  before  (see 
under  San  Rocco). 

Externally  the  church,  though  vast,  is  not  very  in- 
teresting. 

The  West  Front  has  a  fine  Italian  Gothic  doorway,  sur- 
mounted by  figures  of  the  risen  Christ,  with  the  Madonna 
and  Child,  and  the  founder  of  the  Order,  St.  Francis.  The 
South  Facade  is  chiefly  interesting  as  affording  a  view  of 
the  lofty  Campanile,  erected  in  1361  by  Jacopo  delle 
Massegne.  High  up  on  its  West  side  are  figures  of  Our 
Lady  with  the  Child,  and  St.  Francis  receiving  the  stigmata 
from  a  six-winged  crucified  seraph.  Beyond  the  campanile, 
again,  we  come  to  a  fine  doorway  of  a  special  Venetian 
type,  the  finial  ending  in  a  figure  with  an  open  book, 
characteristically  Venetian  ;  below  is  a  charming  relief  of 
Our  Lady  enthroned  with  the  Child,  between  two  ador- 
ing angels,  of  the  school  of  the  Massegne  (about  1400). 
Over  the  other  door,  to  the  R.  of  this,  is  a  figure  of  St. 
Francis. 

Walk  round  further  into  the  little  Campo  in  front  of  the 
Scuola  di  San  Rocco,  in  order  to  observe  the  lofty  un- 
buttressed  Apse,  which,  as  is  often  the  case  in  Venetian 
churches,  is  architecturally  the  most  interesting  portion  of 
the  building.  It  is  probable  that  the  traceries  in  these 
windows  suggested  those  of  the  Doge's  Palace.  This  Apse 
and  the  Chapels  adjacent  should  be  examined  externally 
from  several  points  of  view. 

Enter  by  the  door  in  the  South  Aisle. 

The  interior  resembles  in  its  largeness  of  parts  and  in 
general  plan  that  of  San  Giovanni  e  Paolo  ;  it  has  a  Nave, 
simple  Aisles,  an  Apse,  and  six  Apsidal  Chapels  in  line  with 
the  Apse  (four  at  San  Zanipolo).  Its  chief  peculiarity,  how- 
ever, is,  that  the  Choir  is  placed  West  of  the  Transepts, 
as  in  Westminster  Abbey  and  in  some  other  northern 
churches. 

Begin  your   cxaminalion   of  the  interior    in   the   R.   or 

N.  Aisle. 

1st  altar,  rococo, 


IX.]  THE   FRIARS'    CHURCHES  23 T 

Near  the  isi  pillar,  on  a  Holy  Water  Basin,  statue  of 
Chastity  bearing  a  lamb,  by  Campagna  (1593)- 

Beyond  this,  modern  monument  to  Titian,  erected  by 
Ferdinand  I.,  (1838-52,)  with  the  muses  of  Sculpture, 
Architecture,  Painting,  and  Wood-carving.  Titian  himself 
is  seated  in  the  centre  ;  behind  him,  relief  representing 
his  famous  picture  of  the  Assumption,  formerly  the  High  ^■ 
Altar-piece  of  this  Franciscan  church. 

2nd  altar,  Salviati,  Presentation  of  the  infant  Virgin  in 
the  Temple.  Beyond  it,  rococo  monument  of  Almerico 
D'Este,  general  of  the  Republic,  with  his  statue,  (1660.) 

3rd  altar,  statue  of  St.  Jerome  with  his  lion,  by  Alessandro 
Vittoria,  said  to  be  a  likeness  of  Titian  in  his  98th  year,  and  u 
famous  for  its  anatomical  correctness.     Behind  it.  Glory  of 
St.  Francis. 

Mount  the  steps  by  the  Choir.  Pass  three  or  four  un- 
important 1 6th  and  17th-century  monuments,  and  enter  the 
R.  Transept. 

R.  wall  of  Transept,  early  Renaissance  monument  of 
Jacopo  Marcello,  (1484,)  by  the  Lombardi.  The  sarco- 
phagus is  borne  by  three  crouching  figures  of  captives  : 
above  it  is  the  statue  of  Marcello  himself,  erect,  not  recum- 
bent ;  on  either  side,  military  pages.  This  is  a  fine  early 
example  of  the  non-recumbent  figure.  (In  other  places, 
intermediate  forms  occur  where  the  figure  slowly  raises 
itself  on  one  elbow.) 

Beyond  it,*  altar-piece  in  three  sections,  by  Bartolommeo 
Vivarini  ;  in  the  centre,  Our  Lady  and  Child  ;  L.,  St.  An- 
drew and  St.  Nicolas  of  Myra,  with  the  three  balls  ;  R., 
St.  Paul  and  St.  Peter  ;  above,  a  Piet^,  with  gilt  wooden 
adoring  angels.  (This  altar-piece  was  recently  removed  to 
L,  Transept.) 

End  wall,  near  door  of  Sacristy,  ornate  terra-cotta  florid- 
Gothic  monument  of  the  "  Beato  "  Pacifico,  a  Franciscan 
brother,  and  the  Architect  under  whom  this  church  was 
completed,  erected  (a  century  after  his  death)  by  his  family. 
This  is  a  fine  specimen  of  Florentine  terra-cotta,  its  over- 
elaborate  Gothic  almost  merging  into  Renaissance,  with 
"  wild  crockets."     In  the  lunette  is  the  Baptism  of  Christ; 


232  THE   FRIARS'    CHURCHES  [ix. 

on  a  sarcophagus,  beneath  it,  Faith,  Hope,  and  Charity,  in 
niches,  with  the  Resurrection,  and  Christ  in  Hades  ;  on 
the  finial.  Our  Lady  and  the  Child  ;  at  the  sides,  above,  a 
painted  Annunciation.  This  curious  and  interesting  transi- 
tional work  deserves  careful  examination. 

Over  the  door  of  the  Sacristy,  monument  of  Admiral 
Benedetto  Pesaro,  1503,  by  Lorenzo  Bregno  and  Antonio 
Minello  :  the  Pesari  were  the  chief  patrons  of  this  Fran- 
ciscan church.  The  portal  itself  is  formed  by  the  monu- 
ment, which  bears  ships  and  other  emblems  of  Pesaro's 
victories  ;  in  the  centre,  the  Admiral's  statue  ;  above  it,  in 
the  pediment.  Our  Lady  and  the  Child  ;  L.,  Neptune  (?) 
and  R.,  Mars  (by  Baccio  da  Montelupo) — heathen  deities 
admitted  into  a  Christian  church. 

L.  of  this,  spirited  wooden  equestrian  statue  of  a  Roman 
prince,  Paolo  Savello,  with  stolid  bourgeois  features  ;  on 
the  sarcophagus,  Our  Lady  and  the  Child,  and  the  usual 
Annunciation.  In  this  case  and  others  like  it  the  recum- 
bent figure  has  not  only  risen  from  the  lid  of  the  tomb,  but 
has  actually  mounted  on  horseback. 

Enter  the  Sacristy  (closed  ;  the  Sacristan  expects  a 
small  fee). 

Opposite  the  door,  large  marble  reliquary,  with  reliefs  of 
the  Passion,  of  the  17th  century  ;  good  and  relatively  un- 
affected works  of  their  bad  period.  In  the  centre,  behind 
a  curtain,  beautiful  ^Renaissance  ciborium,  with  charming 
decorative  work ;  relief  of  a  Pietk,  and  figures  of  St.  John 
the  Baptist  and  St.  Francis. 

The  *'''altar-piece  at  the  end  of  this  Sacristy  consists  of 
an  exquisite  work  in  three  panels,  by  Giovanni  Bellini, 
painted  in  1488.  This  picture  (usually  known  as  "the  Frari 
Madonna")  is  perhaps  the  loveliest  of  Bellini's  Madonnas. 
The  picture  is  enclosed  in  its  charming  original  frame,  the 
decorative  work  of  which  is  continued  in  the  painted  niche 
of  the  central  panel.  Our  Lady  sits  enthroned,  with  a  deli- 
cately soft  and  tender  expression,  in  a  small  chapel,  like  one 
of  those  in  St.  Mark's,  with  a  gold  mosaic  cupola.  The 
Child  on  her  knees  stands  erect  and  naked.     At  the  foot 


IX.]  THE   FRIARS'    CHURCHES  233 

are  two  charming  little  angels,  playing  musical  instruments, 
their  attitudes  more  fanciful  and  their  clothing  scantier  than 
in  earlier  examples  of  Bellini's  art.  These  angels  are 
probably  his  most  popular  single  figures.  The  whole  is  a 
sweetly  mystical  and  celestial  presentment  of  the  Mother 
of  God.  The  four  stately  saints  on  the  side-panels  are 
noble  figures,  but  difficult  to  discriminate  in  the  absence 
of  symbols  :  I  take  them  (very  doubtfully)  to  be,  L.,  St. 
Nicholas  and  St.  Peter,  R.,  St.  Paul  and  St.  Benedict  ;  but 
I  am  open  to  correction.  The  entire  work  is  very  rich  and 
mellow  in  colour  ;  gravely  beautiful,  and  saintly  in  feeling. 

Re-enter  the  main  church,  and  proceed  to  examine  the 
Apsidal  Chapels. 

The  isi  chapel,  of  St.  Francis,  has  an  ugly  modern  altar- 
piece  of  St.  Francis  receiving  the  stigmata,  which  I  notice 
here  only  for  its  importance  as  regards  the  Franciscan 
order  ;  all  the  symbolism  of  the  chapel  is  obviously  Fran- 
ciscan. 

sjid  chapel :  on  the  R.  wall,  the  monument  of  Duccio 
degli  Alberti,  ambassador  of  Florence  in  Venice,  (d.  1336.) 
This  is  the  earliest  tomb  in  Venice  on  which  the  Virtues 
appear,  (Justice  and  Temperance  at  the  sides  :)  but  it  is 
of  Florentine  workmanship ;  otherwise  it  resembles  the 
ordinary  earlj-Gothic  tombs  in  having  the  recumbent  figure 
of  the  deceased  on  a  sarcophagus,  and  a  canopy  above  it. 
Study  it  as  marking  an  epoch  in  the  evolution  of  Venetian  V 
sculpture.  Many  later  tombs  are  copied  from  it.  L.  wall, 
14th-century  tomb,  usually  called  "the  Monument  of  the 
Unknown  Knight  ;"  it  has  no  inscription,  but  presents  the 
well-sculptured  figure  of  a  knight  in  hauberk  and  helmet, 
lying  dead  on  his  sarcophagus,  with  a  dog  (his  crest)  at  his 
feet.  Above  him  is  a  figure  of  St.  Joseph  bearing  the  infant 
Christ,  towards  whom  the  face  of  the  figure  turns.  These 
two  admirable  early  tombs  should  be  carefully  compared, 
both  for  architecture  and  symbolism,  and  contrasted  with 
the  bombastic  tone  of  later  monuments. 

The  jr^  chapel  has  nothing  of  importance. 

The  Apse,  the  internal  architecture  of  which  is  rather 


234  THE   FRIARS'    CHURCHES  [ix. 

interesting  than  beautiful,  had  formerly  for  its  High  Altar- 
'  piece  Titian's  Assumption  of  the  Madonna,  as  is  appro- 
priate in  a  church  dedicated  to  St.  Mary  in  Glory.  This 
famous  picture,  towards  which  the  whole  building  once 
converged,  is  now  in  the  Academy,  and  its  place  has  been 
taken  by  an  altar-piece  of  the  same  subject  by  Salviati, 
brought  from  the  demolished  church  of  the  Servites. 

R.  wall  of  Apse,  late  Gothic,  almost  Renaissance,  tomb 
of  Doge  Francesco  Foscari,  (d.  1457,)  by  Antonio  Rizzo. 
This  is  a  striking  example  of  the  way  in  which  the  late 
Gothic  monuments  approached  the  Renaissance  ideals.  It 
also  shows  the  increased  size  and  costliness  of  the  later 
tombs.  The  centre  of  the  design  is  occupied  by  the  sarco- 
phagus, supported  by  base  trefoiled  arches  :  on  it  lies  the 
dead  Doge,  with  solid  practical  unimaginative  features.  At 
his  head  and  feet  stand  the  four  Cardinal  Virtues,  life-size, 
and  becoming  of  immensely  increased  importance  in  the 
composition.  The  curtains  above  (like  those  of  a  bed)  are 
drawn,  no  longer  by  angels,  but  by  two  pages  in  armour, 
introduced  merely  to  show  a  knowledge  of  classical  costume 
and  of  anatomy.  On  the  sarcophagus  itself  are  Faith, 
Hope,  and  Charity,  retaining  little,  if  anything,  of  Gothic 
feeling.  Above  the  curtains  is  a  figure  of  Christ  blessing, 
in  a  mandorla  ;  at  the  sides,  a  somewhat  affected  Annuncia- 
tion ;  the  rampant  foliage  of  the  pediment  is  very  un- 
pleasing.  Altogether  this  tomb  exhibits  the  last  stage  of 
^  decadent  Gothic — "  the  refuse  of  one  style  encumbering  the 
embryo  of  another." 

The  L.  wall  is  occupied  by  the  immense  early  Renais- 
sance tomb  of  Doge  Nicolo  Tron,  (d.  1473,)  also  by  Rizzo. 
The  difference  between  this  and  the  one  opposite,  which 
can  so  readily  be  compared  with  it,  marks  the  change  which 
was  fast  coming  over  Venetian  art.  As  far  as  purity  of 
design  goes,  Rizzo's  Renaissance  manner  is  at  any  rate 
better  than  his  decadent  Gothic.  This  monument  is  also 
noticeable  as  being  one  of  the  first  which  has  the  figure  of 
its  occupant  repeated, — once  dead,  on  the  sarcophagus,  and 
once,  below,  as  an  erect  hving  statue.     I  will  not  enumerate 


IX.]  THE   FRIARS'    CHURCHES  235 

all  the  separate  figures  of  armed  pages  displaying  shields, 
the  Temporal  and  Theological  Virtues,  and  the  host  of 
other  conventional  sculptor's  properties  with  which  we  are 
now  familiar.  They  are  hardly  worth  individual  description. 
The  upper  portion  of  the  tomb  consists  of  a  figure  of  the 
risen  Christ,  in  the  lunette,  with  an  Annunciation,  now  con- 
ceived in  true  Renaissance  spirit,  at  the  sides  ;  it  has  a 
statue  of  God  the  Father  as  a  finial.  Sumptuous,  well- 
worked,  empty,  unimpressive.  The  Doge  himself  is  as  dull 
as  he  is  ugly  :  a  cunning  business  man,  with  no  spark  of 
nobility. 

The  1st  apsidal  chapel  beyond  the  Apse  has  a  fine  early 
sarcophagus,  with  the  Madonna  and  Child,  and  an  Annun- 
ciation. The  altar-piece,  by  Pordenone,  represents  Our 
Lady  with  the  Child,  and  assorted  Franciscan  saints,  (St. 
Francis,  St.  Antony  of  Padua,  St.  Louis  of  Toulouse,  and 
others.) 

The  2nd  apsidal  chapel  has  a  gilt  wooden  Renaissance 
altar-piece  by  Dentone,  with  a  wooden  figure  of  St.  John 
the  Baptist  as  a  penitent  in  the  desert,  by  Donatello.  The 
other  figures  are  St.  Jerome,  St.  Genevieve,  an  Annuncia- 
tion, and  a  Resurrection.  In  the  altar  beneath  repose  the 
remains  of  St.  Theodore,  the  original  patron  of  the  Republic, 
removed  here  from  the  Scuola  di  San  Teodoro,  near  the 
church  of  San  Salvatore  ;  nobody  now  seems  to  take  much 
notice  of  him.  On  the  L.  wall  of  this  chapel  is  the  Re- 
naissance monument  of  Melchior  Trevisan,  general  of  the 
Republic,  (1500,)  the  sarcophagus  (now  reduced  to  an  un- 
interesting relic)  forming  a  mere  base  for  the  statue  of  the 
general,  and  flanked  by  his  pages  as  supporters.  This  is 
the  last  stage  reached  by  the  simple  sarcophagus  tomb. 

The  jr^  apsidal  chapel  is  that  of  the  Milanese,  belonging  , 
to  the  merchants  of  Milan  established  in  Venice.  It  is  V 
naturally  dedicated  to  the  great  patron  saint  of  Milan,  St. 
Ambrose,  and  has  a  fine  altar-piece  (by  Alvise  Vivarini  and 
Basaiti)  representing  St.  Ambrose  enthroned  in  the  centre, 
attended  by  other  saints.  Nearest  to  the  Milanese  Father 
are   the    military    patron    saints   of  hospitable   Venice,    St. 


236  THE   FRIARS'    CHURCHES  [ix. 


George  and  St.  Theodore.  On  the  right  are  the  other 
Doctors  of  the  Church  usually  associated  with  Ambrose — 
St.  Gregory,  St.  Augustine,  and  St.  Jerome.  On  the  L.  are 
an'  assorted  groups  of  miscellaneous  saints,  Sebastian,  John 
the  Baptist,  and  others.  At  the  foot  of  the  throne  sit  the 
usual  musical  angels.  In  the  painted  loft  above  is  a  curious 
Coronation  of  the  Virgin,  evidently  by  another  hand.  This 
very  allusive  altar-piece  thus  combines  devotion  to  St. 
Ambrose,  as  patron  saint  of  Milan  and  as  Doctor  of  the 
Church,  with  polite  recognition  of  Venetian  hospitality,  and 
the  usual  Adriatic  desire  to  propitiate  a  powerful  and  useful 
plague-saint. 

The  L.  Transept  has  a  delicate  small  Gothic  doorway, 
to  the  R.  of  the  ugly  Renaissance  one.  On  its  R.  wall  is  an 
*altar-piece  in  three  sections,  by  Bartolommeo  Vivarini,  still 
filling  its  original  Gothic  tabernacle  framework, — the  last 
worthy  of  inspection.  It  has  in  its  central  panel,  St.  Mark 
enthroned,  as  patron  of  Venice,  with  musical  angels  at  his 
feet.  To  the  L.  are  St.  John  the  Baptist,  and  St.  Jerome 
holding  the  church  of  which  he  was  the  luminary  ;  to  the 
R.,  St.  Paul  and  St.  Nicholas :  (St.  Ambrose  and  St.  Peter?) 

Before  passing  down  the  L.  Aisle,  cast  a  glance  at  the 
carved  wood  stalls  in  the  Choir,  which  were  the  seats  of  the 
Franciscan  brethren  in  this  monastery. 

In  the  L.  Aisle  is  a  graceful  small  doorway,  with  our 
Lady  and  kneeling  brethren. 

The  rood=screen,  which  shuts  off  the  choir  from  the 
nave,  is  late  work,  unimpressive,  and  has  the  usual  Crucifix, 
with  Our  Lady,  St.  John,  the  four  Evangelists,  and  the 
prophets. 

Opposite  this  screen,  in  the  L.  Aisle,  is  the  large  Chapel 
of  the  Baptistery ;  it  contains  the  Font,  crowned  by  the 
usual  figure  of  St.  John  the  Baptist,  (by  Sansovino.)  Over 
this  font  is  a  handsome  monument,  in  the  style  of  the  Mas- 
segne,  with  five  figures  of  saints,  whom  I  cannot  satisfac- 
torily identify. 

The  Altar-piece  is  also  a  work  in  sculpture  by  the  Mas- 
segne  :  below  (later  work)  in  the  centre,  St.  Peter  standing; 


ix]  THE   FRIARS'    CHURCHES  237 

at  the  sides,  (I  think,)  St.  Jerome,  St.  John  the  Baptist,  St. 
Andrew,  and  St.  Francis  or  St.  Antony  of  Padua ;  above, 
Our  Lady  and  the  Child,  with  four  great  female  saints,  St. 
Lucy  with  the  lamp,  St.  Catharine  with  the  wheel,  St.  Mary 
Magdalen  with  the  pot  of  ointment,  and  St.  Claire  with  the 
cross.     (Identifications  doubtful.) 

The  rest  of  this  Aisle  is  chiefly  given  up  to  the  great 
family  of  the  Pesari,  who  were  the  chief  patrons  of  the 
Franciscans  in  Venice. 

Just  beyond  the  door  of  the  Baptistery,  with  its  handsome 
arch,  is  the  late  Renaissance  tomb  of  Bishop  Jacopo  Pesaro, 
(d.  1547.)  This  shows  fine  workmanship,  and  little  feeling. 
The  Bishop  lies  semi-erect  on  his  sarcophagus,  one  of  those 
transitional  instances  where  the  recumbent  figure  seems  to 
be  trying  to  raise  itself.  The  bier  is  adorned  with  plaques 
of  coloured  marble  and  supported  by  two  children  with 
their  feet  on  skulls.  The  canopy  is  characteristic  of  later 
Renaissance  feeling.     Good,  but  unpleasing. 

The  altar  beyond  this  has  for  its  altar=piece  Titian's  \, 
famous  ■**Madonna  of  the  Pesaro  family.  This  singular 
picture,  one  of  the  most  celebrated  of  its  author's  works,  was 
painted  for  the  same  Bishop,  Jacopo  Pesaro,  whose  tomb  we 
have  just  examined  beside  it.  A  word  of  explanation  is 
necessary  here.  In  1501,  Jacopo  Pesaro,  who  was  bishop  of 
Paphos  in  Cyprus,  then  still  a  Venetian  possession,  was 
appointed  by  Pope  Alexander  VI.  (Borgia)  to  the  command 
of  the  Papal  fleet  in  the  new  crusade  at  that  time  being 
undertaken  against  the  Turks  by  Rome,  Venice,  and  Hun- 
gary. For  this  occasion,  Titian  painted  for  the  militant 
prelate  a  very  beautiful  picture,  (now  at  Antwerp,)  in  which 
Pope  Alexander  VI.  introduces  to  St.  Peter  the  new  Admiral 
of  the  Holy  See.  On  the  bishop's  successful  return  from  his 
naval  expedition,  he  commissioned  Titian  to  paint  this 
second  altar-piece  as  a  thanksgiving  for  his  victory.  The 
scene  is  a  lofty  portico  in  a  soaring  church  of  then  unex- 
ampled size,  like  St.  Peter's  at  Rome.  Our  Lady  sits  en- 
throned with  the  Child  near  some  colossal  columns.  Just 
below  her  sits   St.   Peter,  reading,  (at  whose  feet  are  the 


238  THE    FRIARS'    CHURCHES  [iX. 

keys;)  he  is  disturbed  from  his  book  and  looks  away  to- 
wards the  surrounding  figures,  as  though  the  Holy  See  were 
diverted  for  the  moment  from  its  spiritual  task  to  undertake 
a  necessary  military  adventure.  He  gazes  down  benig- 
nantly,  (as  does  also  Our  Lady,)  upon  the  kneeling  figure  of 
the  donor,  Bishop  Jacopo  Pesaro  himself,  (on  the  L.,)  an 
admirable  portrait.  Behind  the  bishop,  St.  George,  repre- 
senting the  mihtary  power  of  Venice,  and  extending  his 
arm  towards  the  kneeling  donor,  holds  aloft  the  banner  of 
the  Holy  See,  bearing  the  arms  of  the  Borgias,  surmounted 
by  the  Papal  crown,  and  crowned  above  with  the  laurel- 
leaves  of  victory.  Behind  him,  again,  bows  a  captive  Turk, 
a  trophy  of  the  fighting  ecclesiastic's  campaign  against  the 
Infidel.  The  right-hand  side  of  the  picture  is  occupied  by 
the  figures  of  St.  Francis  and  St.  Antony  of  Padua,  who 
represent  this  Franciscan  church  of  the  Frari.  Beside  them 
kneels  Benedetto  Pesaro,  the  head  of  the  house  of  Pesaro, 
(his  tomb  is  in  the  R.  transept,)  with  other  members  of  his 
family,  most  of  them  in  the  crimson  robes  of  Venetian  sena- 
tors, (Knights  of  St.  Mark.)  The  Franciscan  saints  seem 
to  commend  them  to  Our  Lady.  Angels,  dwindling  after 
the  wont  of  the  time  into  babes,  fill  the  upper  portion  of 
the  picture.  The  allegorical  meaning  of  this  famous  and 
beautiful  work  deserves  a  little  study.  It  well  exhibits  the 
increasing  importance  of  the  portraits  of  the  donor  and  his 
relations,  who  now  quite  throw  into  the  shade  Our  Lady 
and  the  saints.  A  fine  piece  of  composition,  departing 
^  boldly  from  the  old  conventional  symmetry :  gorgeous 
colouring  :  admirable  light  and  shade. 

Beyond  the  Titian,  and  over  the  small  door  of  the  S. 
Aisle,  stands  the  gigantic,  vulgar,  and  ugly  monument  of 
Doge  Giovanni  Pesaro,  (d.  1659,)  by  Longhena  and  another. 
This  is  the  worst  Baroque  work  in  this  church,  almost 
equalling  in  pretentious  vulgarity  the  tomb  of  the  Valiers  in 
San  Zanipolo.  The  boastful  character  of  the  monument  is 
shown,  not  only  in  its  vast  size,  but  in  its  theatrically  ges- 
ticulating \'irtues,  its  fly-away  Faith,  Hope,  and  Charity,  its 
oddly  startled  figure  of  the  Doge,  jumping  forward  under 


IX.]  THE  FRIARS     CHURCHES  239 

the  canopy  of  his  own  sarcophagus,  (which  is  supported  by 
very  fearsome  nondescript  animals,)  and,  above  all,  in  the 
four  figures  of  captive  negroes  (black  marble  faces  with 
white  eyes)  which  sustain  the  whole.  The  skeletons  below 
are  in  the  vilest  taste  of  their  period.  The  bombastic 
Latin  inscriptions,  exactly  paralleling  the  style  of  the  tomb, 
state  that  the  Doge  "  lived  70  years,"  "  unlived,"  (not  died,) 
"in  the  year  1659,"  and  "lived  again  in  this  monument  in 
the  year  1669."     A  monstrous  and  hideous  nightmare. 

Beyond  this  is  the  frigidly  "  correct "  modern  tomb  of  the 
sculptor  Canova,  (d.  1822,)  with  finely-sculptured  but  unim- 
pressive figures  from  his  own  design  for  the  tomb  of  Titian. 
Its  chilly  classicalism,  its  emptiness  of  feeling,  and  its 
blank  white  spaces  produce  a  cold  effect  that  is  eminently 
unpleasing. 

Over  the  Holy  Water  Vessel,  beyond,  statue  in  bronze  of 
the  great  local  Franciscan  luminary,  St.  Antony  of  Padua, 
by  Balthazar  Stella. 

End  wall,  near  the  door,  Renaissance  tomb  of  Pietro 
Bernardo,  d.  1538,  by  Alessandro  Leopardi,  a  piece  of  very 
fine  and  delicate  workmanship,  wasted  upon  an  exceedingly 
ugly  and  meaningless  design.  Much  of  the  minor  decora- 
tion is,  however,  most  beautiful  and  graceful  ;  it  deserves  to 
be  examined  rather  in  detail  than  as  a  whole.  Mr.  Ruskin 
seems  to  me  unjust  in  his  denunciation  of  this  and  of  many 
other  fine  early-Renaissance  monuments. 

The  vast  Franciscan  monastery  at  the  back  of  the 
church  has  been  seized  by  Government  and  converted  into 
the  Public  Archives. 

From  the  little  Campo  in  front  of  the  church,  you  may 
cross  the  bridge  and  turn  to  the  L.  Cross  another  bridge, 
and  keep  along  the  street  a  little  to  the  R,  ;  cross  the 
Campo  S.  Stin,  obliquely  to  the  L.,  when  one  turn  to  the  L., 
and  one  to  the  R.,  will  bring  you  into  the  little  Campiello  di 
San  Giovanni.  Here  you  find  the  portico  and  remains  of 
the  once  splendid  Scuola  di  5an  Giovanni  Evangelista, 
where  was  preserved  the  famous  relic  of  the  Holy  Cross, 


240  THE   FRIARS'   CHURCHES  [ix. 

and  whence  were  brought  the  Gentile  Bellinis  now  in  the 
octagonal  room  at  the  Academy.  A  posi  in  front,  dated 
1554,  has  brethren  of  the  Fraternity  worshipping  the  Holy 
Cross,  with  the  eagle,  the  symbol  of  the  Evangelist  ;  on 
the  sides  are  other  symbols.  The  gateway  is  in  the  style  of 
the  Lombard! ;  it  is  surmounted  by  the  Holy  Cross,  with 
adoring  angels  ;  in  the  lunette,  the  eagle  of  the  Evangelist. 
The  door  and  windows  have  fine  Renaissance  decoration. 
The  court-yard  has  late-Gothic  windows  with  florid  finials. 
The  rest  of  its  architecture  is  early  Renaissance.  Over  the 
main  door  is  a  figure  of  St.  John  ;  under  a  lunette  to  the  L., 
the  Evangelist  receiving  the  members  of  the  Fraternity, 
with  Our  Lady  and  the  Child  above.  This  gate,  portico, 
and  court  are  a  picturesque  relic  of  what  was  once  a  very 
stately  Guildhall.  The  interior  only  deserves  a  brief  visit 
for  the  sake  of  its  still  handsome  rooms,  of  its  empty  church, 
and  of  the  pictures  which  once  adorned  it,  now  in  the 
Academy. 


MINOR  SIGHTS 

r'~r^HE  objects  already  enumerated  in  this  volume  com- 
[_  ±  pose,  it  seems  to  me,  the  group  of  sights  best 
worth  seeing  at  Venice.  But  in  saying  this  I  do  not  wish 
to  be  dogmatic  :  I  merely  desire  to  advise  the  reader  to  the 
best  of  my  ability.  Tastes  differ ;  I  can  only  recommend 
first  what  my  own  taste  judges  to  be  most  important.  There 
are,  however,  an  immense  number  of  other  churches  and 
collections  of  very  high  interest,  which  thoroughly  deserve  a 
visit  from  those  who  have  already  been  able  to  give  adequate 
consideration  to  St.  Mark's,  the  Doge's  Palace,  the  Academy, 
and  the  other  greater  buildings  or  museums  of  the  city. 
Many  of  them  contain  individual  pictures  or  pieces  of 
sculpture  which  in  themselves  may  fairly  claim  to  rank 
among  the  most  beautiful  works  of  art  in  Venice.  It  must 
always  be  a  question  for  the  individual  tourist  to  decide, 
indeed,  whether  it  is  worth  his  while  to  take  a  long  journey 
by  gondola  or  on  foot  into  some  distant  quarter  of  the  town 
in  order  to  see  some  particular  Giovanni  Bellini  or  some 
stray  Tintoretto,  to  which  Ruskin  has  called  attention  by 
exaggerated  praise,  at  a  time  when  he  has  not  yet  been  able 
to  look  at  half  the  equally  fine  Bellinis  in  the  Academy,  or 
half  the  perhaps  still  finer  Tintorettos  in  the  Doge's  Palace. 
On  the  other  hand,  certain  students  may  desire  to  hunt  up 
every  specimen  of  some  one  master  who  specially  appeals 
to  them.  My  own  strong  advice  to  the  average  cultivated 
visitor  who  can  only  spend  a  month  or  six  weeks  in  Venice 
is  this — see  thoroughly  first  the  buildings  or  objects  thus  far 
enumerated,  and  then,  (but  only  then,)  take  your  choice 
among  the  following  minor  sights,  which  I  mention  in 
G.  V.  ^''  Q 


242  MINOR   SIGHTS  [x. 

what  seems  to  me,  roughly  speaking,  the  order  of  their 
relative  value  and  instructiveness.  By  this  I  do  not  neces- 
sarily mean  their  importance  as  individual  artistic  master- 
pieces. It  may  easily  happen  that  some  remote  church  may 
contain  a  single  fine  Carpaccio  or  Veronese,  while  the 
churches  to  which  I  first  call  attention  here  possess  no 
sohtary  work  of  equal  importance.  But,  then,  you  will  have 
neglected  many  Carpaccios  and  Veroneses  quite  as  good  in 
the  great  buildings  ;  and  it  is  often  better  worth  while  to 
look  at  some  group  of  individually  second-rate  objects  that 
throw  light  collectively  on  the  history  of  art,  than  to  run 
after  every  famous  picture  or  statue.  It  is  a  fatal  mistake, 
indeed,  to  suppose  that  what  one  should  see  above  every- 
thing is  the  mighty  masterpieces  :  as  a  rule,  masterpieces  are 
merely  works  of  a  particular  age  and  school  which  rise  more 
or  less  distinctly  above  its  general  level ;  it  is  only  by  under- 
standing first  that  general  level  that  they  can  be  rightly 
appreciated,  and  allowed  to  fall  into  their  proper  place  in 
the  entire  aesthetic  movement  of  their  century.  I  therefore 
give  first  some  account  of  those  buildings  of  the  second 
rank  which  I  think  most  useful  in  filling  in  your  conception 
of  Venice  as  a  whole,  and  proceed  afterwards  to  mention  a 
few  of  the  scattered  masterpieces  which  those  whose  time 
permits  it  may  look  up  for  themselves  in  the  remoter  parts 
of  the  city.] 

A.   SAN  GIORGIO  DEGLI  SCHIAVONI 

[The  Dalmatians  and  Illyrians  were  amongst  the 
earliest  subjects  of  the  Venetian  Republic  ;  the  trade  with 
the  opposite  coast  was  always  considerable,  much  of  Venice 
being  built  of  Istrian  stone  and  Dalmatian  timber.  Indeed, 
the  chief  quay  itself  derived  from  the  name  of  this  Slavonic 
people  the  title  (which  it  still  bears)  of  Riva  degli  Schiavoni. 
In  1452,  the  Council  of  Ten  permitted  certain  leading 
Dalmatian  merchants  settled  at  Venice  to  establish  a  lay 
brotherhood,  called,  after  the  two  great  patron  saints  of 
Dalmatia,  the  Fraternity  of  St.  George  and  St.  Tryphonius. 
It  was  founded  for  the  relief  of  old  and  poor  Dalmatians, 


X.]  MINOR   SIGHTS  243 

especially  sailors,  for  the  burial  of  the  dead,  and  for  the 
education  of  the  needy  children  of  their  race  ;  and  these 
objects  are  still  its  care  at  the  present  day,  for  it  continues 
to  exist  in  modern  Venice.  The  Brotherhood  built  itself  a 
little  oratory  or  chapel  near  the  Priory  of  St.  John  of  Jeru- 
salem, on  the  Rio  della  Pieta  ;  and  at  the  close  of  the  15th 
century  the  members  rebuilt  this  hall  in  the  present  form, 
the  work  being  completed,  and  the  marble  fagade  finished, 
in  the  year  1501.  During  the  next  ten  years,  Carpaccio  was 
employed  to  decorate  its  walls  with  a  series  of  paintings 
illustrating  the  lives  of  the  two  patron  saints,  George  and 
Tryphonius,  and  also  that  of  St.  Jerome,  the  translator  of 
the  Scriptures  from  Hebrew  and  Greek  into  Latin  (in  the 
version  known  as  the  Vulgate),  who,  though  not  a  patron  of 
the  Guild,  was  a  Dalmatian,  and  therefore  a  countryman  of 
its  members.  This  chapel  or  meeting-hall  of  the  Brother- 
hood is  commonly  known  as  San  Giorgio  degli  Schiavoni, 
and  is  best  reached  by  gondola.  (If  on  foot,  go  towards 
San  Zaccaria ;  then  San  Giorgio  dei  Greci  and  Sant' 
Antonino  ;  whence  a  Fondamenta  leads  direct  to  the  door.) 
It  should  be  visited  for  the  sake  of  these  exquisite  works  of 
Carpaccio's,  which  are  both  beautiful  in  themselves,  and 
also  show  one  a  series  like  the  St.  Ursulas  of  the  Academy, 
still  existing  in  the  very  building  and  in  the  very  framework 
for  which  they  were  originally  intended.] 

The  simple  middle-Renaissance  facade  (by  Sansovino) 
dates  from  1551,  but  has  embedded  in  its  front  a  quaint  late 
15th  or  early  i6th  century  relief  of  St.  George,  mounted, 
piercing  the  dragon's  head.  The  dragon  has  one  paw  on 
the  bust  of  a  previous  victim.  Behind  is  a  charming  figure 
of  the  little  Princess,  fleeing  ;  in  the  background,  the  towers 
and  ramparts  of  a  mediaeval  city.  Above  this,  St.  John  the 
Baptist  presents  the  donor  to  Our  Lady  and  the  Child  ;  as 
he  lays  his  hand  on  the  votary's  head,  the  latter's  name  was 
probably  Giambattista.  To  the  R  ,  St,  Catharine  of  Alexan- 
dria, crowned,  with  her  wheel  and  her  palm  of  martyrdom  : 
probably  patroness  of  the  donor's  wife. 


244  MINOR   SIGHTS  [x. 

The  interior  consists  of  a  pretty  little  panelled  oratory, 
with  good  wooden  roof.  Above  the  panels  are  the  famous 
*paintings  by  Carpaccio,  which  have  made  it  a  shrine  for 
many  worshippers  not  Slavs. 

Begin  on  the  L.  wall,  ist  picture :  St.  George  conquering 
the  Dragon.  The  youthful  saint,  with  fair  hair  flying  in  the 
wind,  and  in  admirably  painted  armour,  sits  on  a  brown 
horse  of  somewhat  clumsy  build,  as  was  usual  with 
mediaeval  horses.  He  tilts  with  his  lance  at  the  dragon,  a 
very  terrible  and  typical  monster.  The  ground  hard  by  is 
covered  with  the  bleached  bones  of  previous  victims.  To 
the  R.,  the  little  princess,  crowned  and  in  a  red  robe, 
stands  with  clasped  hands,  confident  of  her  champion's 
speedy  victory.  In  the  background,  a  seascape  with  ships, 
strongly  recalling  the  story  of  Perseus  and  Andromeda,  from 
which  this  is  an  obvious  derivative.  To  the  L.  is  architec- 
ture, intended,  after  Carpaccio's  wont,  to  represent  the 
rudeness  of  a  pagan  city. 

2nd  picture  :  **St.  George  leads  the  conquered  and  crest- 
fallen dragon, — a  passing  tame  beast  indeed, — into  the 
pagan  city.  The  centre  is  occupied  by  the  saint  and  his 
bridled  victim.  To  the  L.  are  charming  figures  of  the  pagan 
(or  Saracen)  king,  on  a  white  charger,  and  the  princess, 
also  mounted,  beside  him.  Behind  these,  to  the  L.,  Oriental 
figures,  (probably  derived  from  studies  made  by  Gentile 
Bellini  at  Constantinople,)  all  excellently  drawn  and 
coloured.  The  background  is  formed  by  the  buildings  of 
the  city,  crowded  with  spectators.  On  the  R.,  more 
orientals,  representing,  I  think,  a  second  scene,  where  the 
king  and  princess  have  dismounted  from  their  chargers 
(notice  the  exact  similarity  of  the  trappings  on  the  two  rider- 
less horses  to  those  in  the  other  portion  of  the  picture). 
Within,  the  saint  is  probably  preparing  his  new  and  sudden 
converts  for  baptism. 

The  small  panel  beyond  these,  (with  the  risen  Christ  and 
an  adoring  donor,)  is  not  by  Carpaccio,  and  is  unimportant. 
AItar=waII :    *the    Baptism  of    the  king  and   princess. 
The  saint  stands  on  the  steps  of  the  palace,  pouring  water 


X.]  MINOR  SIGHTS  245 

over  the  bare  head  of  the  converted  king.  Behind  him,  a 
delicious  attendant  bears  a  lovely  vase  with  water  for  the 
ceremony.  Beyond  the  king,  the  princess,  with  her  long 
golden  hair,  kneels  to  await  the  Sacrament  :  her  tiring- 
woman  is  Moorish,  and  wears  a  pretty  oriental  shawl.  The 
king's  turban  is  tidily  laid  on  the  steps.  To  the  L.,  in  order 
to  show  that  this  is  a  great  state  ceremony,  musicians  blow 
trumpets  and  bang  drums,  while  Saracens  in  turbans  look 
on  at  the  triumph  of  the  new  religion.  Dignified  courtiers 
kneel  beside  them.  All  the  accessories,  such  as  the  parrot, 
the  dog,  the  architecture,  etc.,  deserve  close  observation. 
Note  how  the  careful  saint  withdraws  his  rich  red  robe  to 
save  it  from  wetting ;  he  is  still  in  armour  beneath  it,  be- 
cause that  is  part  of  his  symbolical  character.  Do  not  pass 
too  quickly  over  these  lovely  and  pregnant  pictures. 

The  altar=piece  is  a  pretty,  but  insipid,  Madonna  and 
Child,  by  Vincenzo  Catena,  substituted  for  one  by  Car- 
paccio. 

Beyond  the  altar,  end  wall,  a  single  scene  from  the  life 
of  St.  Tryphonius,  the  other  patron  saint  of  the  fraternity. 
It  represents  the  one  great  episode  in  his  legend  :  St. 
Tryphonius,  as  a  child,  subdues  a  basilisk,  which  had 
ravaged  Albania.  The  child's  head  and  figure  are  pretty 
and  schoolboy ish  ;  the  basilisk  is  not  well  imagined.  To 
the  R.  sits  the  Governor,  with  features  like  those  of 
Louis  XI.  and  Henry  VII.  of  England,  surrounded  by 
courtiers.  The  rest  of  the  canvas  is  taken  up  by  wondering 
spectators,  and  Carpaccio's  usual  architecture.  Note  the 
beautiful  rugs  through  the  windows,  and  observe  that  the 
miracle  is  treated  again  as  a  state  ceremony. 

On  the  R.  wall  are  two  pictures  unconnected  in  subject 
with  the  series.  The  first,  the  Agony  in  the  Garden,  (by 
Carpaccio,  but  ruined,)  has  the  three  sleeping  saints  in  the 
usual  attitudes,  and  above,  the  praying  Saviour. 

The  subject  of  the  *2nd  picture  is  much  debated  ;  Ruskin 
describes  it  as  the  Calling  of  Matthew  ;  others  regard  it  as 
Christ  invited  to  the  house  of  the  Pharisee.  I  am  myself 
inclined  to  consider  it  as  the   Rich  Young   Man  to  whom 


246  MINOR   SIGHTS  [x. 

Christ  gives  the  command,  "  Sell  all  that  thou  hast  and 
follow  me."  The  Saviour,  surrounded  by  the  apostles,  grasps 
the  hand  of  a  bearded  man  in  a  crimson  cap  and  exquisite 
brocaded  robe,  who  stands  at  the  door  of  a  counting-house. 
This  is  a  fine  picture,  but  one  which  requires  little  descrip- 
tion. 

The  other  three  panels  represent  the  history  of  St.  Jerome, 
a  compatriot  of  the  members  of  the  fraternity,  and  trans- 
lator of  the  Bible  into  Latin.  In  spite  of  the  critics,  I 
cannot  bring  myself  to  believe  that  the  first  two  canvases 
of  this  series  are  by  Carpaccio ;  both  in  treatment  and  in 
technique  they  seem  to  me  wholly  alien  to  his  manner. 

In  the  first  picture  St.  Jerome  introduces  his  tame, 
obedient,  and  smiling  lion  to  the  monks  of  his  monastery. 
The  saint  himself  is  bland  and  persuasive  ;  the  monks, 
unused  to  such  monsters, fly  in  terror;  their  running, though 
full  of  movement,  is  awkwardly  represented.  The  back- 
ground rather  suggests  the  neighbourhood  of  Florence  than 
Venetian  architecture. 

The  second  picture  represents  the  Burial  of  St.  Jerome. 
The  wasted  body  of  the  aged  ascetic  is  laid  on  a  terrace  in 
the  foreground ;  he  died  at  Bethlehem,  and  an  attempt  is 
given  to  impress  this  fact  by  the  introduction  of  palm  trees 
and  of  a  strange  animal  tied  to  the  one  in  the  middle 
distance.  A  priest  reads  the  burial  service  ;  the  monks,  in 
blue  and  white  robes,  kneel  around  him. 

The  third  picture,  clearly  by  Carpaccio  himself,  represents 
*the  Saint  in  his  study  translating  the  Scriptures.  It  should 
have  occupied  the  previous  panel.  The  contention  of  Mr. 
Ruskin  and  his  collaborator  that  this  picture  represents  St. 
Jerome  in  heaven  seems  to  me  quite  untenable  ;  the  subject 
is  one  commonly  represented,  and  the  treatment  here 
contains  many  elements  wholly  inconsistent  with  this 
strange  hypothesis.  The  saint  is  seated  to  the  R.,  in  a 
charming  study,  with  his  authorities  open  on  the  table  and 
on  the  ground  around  him  ;  he  is  pausing  for  the  exact 
Latin  equivalent  to  some  difficult  Hebrew  phrase.  A  mathe- 
matical instrument  on  the  R.  proves  his  deep  astronomical 


X.]  MINOR   SIGHTS  247 

learning.  The  centre  background  is  occupied  by  a  dainty 
little  niche,  with  a  figure  of  the  risen  Christ,  bearing  the 
Resurrection  banner.  On  the  table  is  placed  St.  Jerome's 
abbot's  mitre,  and  close  by  stands  his  crozier  To  the  L. 
of  this,  a  door  gives  a  glimpse  into  a  second  charming 
chamber.  To  the  extreme  L.,  we  see  delicious  furniture— a 
charming  chair,  a  reading  desk,  and  rolls  of  manuscripts  laid 
on  a  shelf,  above  which  is  a  brass  sconce,  and  below,  a  shelf 
containing  antique  bric-a- b7-ac,  xtry  inappropriate  in  heaven, 
but  showing  that  Carpaccio  envisaged  the  saint  as  a  learned 
ecclesiastic  with  the  tastes  of  a  cardinal  of  his  own  period. 
The  antique  curios  include  a  bronze  horse,  a  little  bronze 
statuette,  and  three  or  four  small  black-and-yellow  Greek 
vases,  of  the  type  erroneously  called  Etruscan,  and  found  in 
tombs  of  the  early  Etruscan  period.  All  the  furniture  of 
this  delightful  chamber  may  be  closely  noted  ;  its  ceiling 
somewhat  resembles  that  of  this  very  oratory. 

B.     SAN  ZACCARIA 

[The  church  of  5an  Zaccaria  well  deserves  a  visit.  It  is 
reached  from  the  Piazza  by  going  as  straight  as  you  can  go 
past  the  Patriarchal  Palace,  and  over  two  bridges,  till  you 
reach  a  doorway  with  an  inscription  "  Campo  San  Zaccaria." 
In  the  tympanum  of  this  doorway  is  a  fine  relief,  in  the  style 
of  the  Massegne,  representing,  on  the  finial,  St.  Zacharias  (?) 
blessing  ;  beneath,  Our  Lady  and  the  Child,  St.  John  the 
Baptist,  son  of  St.  Zacharias,  and  St.  Mark  the  Evangelist. 
This  was  the  ancient  gate  of  a  large  and  important  Bene= 
dictine  nunnery,  to  which  the  church  belonged.  The 
nunnery  was  established  here  from  a  very  early  date,  and 
daughters  of  the  noblest  Venetian  houses  were  enrolled 
among  its  numbers  as  abbesses  and  sisters.  They  had  the 
privilege  of  presenting  the  Doge  with  his  ducal  cap  :  almost 
all  the  Doges  from  837  to  11 72  were  buried  in  their  church.] 

The  existing  building  was  mainly  erected  by  Martino 
Lombardo  in  1457,  but  contains  fragments  of  older  work. 
Its  fagade  is  a  good  specimen  of  early  Renaissance  architec- 


248  MINOR   SIGHTS  [X. 

ture,  which  should  be  compared  with  the  closely  similar  ex- 
ample in  the  Scuola  di  San  Marco.  Notice  the  circular 
form  given  to  the  false  gable,  and  to  the  blind  portion  or 
screen  which  joins  nave  and  aisles.  Over  the  entrance,  out- 
side, is  a  statue  of  the  patron  saint,  St.  Zacharias  (the  priest, 
and  father  of  St.  John  the  Baptist),  by  Alessandro  Vittoria. 
The  campanile  is  Romanesque,  13th  century. 

Enter  the  church.  It  has  a  striking  interior.  Over  the 
holy  water  vessel  to  the  R.  of  the  entrance  is  a  statuette  of 
St.  John  the  Baptist,  by  Alessandro  Vittoria. 

The  nave  and  aisles  contain  a  large  number  of  tolerable 
pictures,  which  space  will  not  permit  me  to  notice  in  full. 
The  second  altar  in  the  L.  aisle  has  a  magnificent  **altar- 
piece  by  Giovanni  Bellini  in  his  later  period,  (1505,)  repre- 
senting Our  Lady  and  the  Child,  enthroned  under  a  niche 
of  a  sort  with  which  we  are  now  familiar.  To  the  R.  stands 
St.  Lucy,  with  long  fair  hair,  holding  a  lamp  and  the  palm 
of  her  martyrdom — a  lovely  figure  in  Bellini's  most  charming 
later  manner.  Beyond  her  is  St.  Jerome,  as  the  father  of 
the  monastic  life,  reading  in  the  Vulgate — a  fine,  virile,  aged 
form,  in  a  splendid  red  robe.  To  the  L.  are  St.  Catharine  of 
Alexandria  and  St.  Peter.  As  this  is  a  nuns'  church,  promi- 
nence is  rightly  given  to  the  graceful  and  tender  female 
saints.  This  picture  shows  Bellini  in  a  transitional  stage  to 
the  later  Renaissance  manner  ;  it  is,  as  Vasari  justly  called 
it,  a  modern  picture. 

The  altar  just  opposite  this,  in  the  R.  aisle,  has  a  gilt 
sarcophagus,  interesting  as  containing  the  body  of  the  patron, 
St.  Zacharias,  f^ither  of  St.  John  the  Baptist,  as  its  inscrip- 
tion relates.  You  will  never  thoroughly  understand  early 
churches  unless  you  note  the  importance  of  such  relics. 

The  door  on  the  R.  beyond  this  gives  access  to  the  Nuns' 
Choir,  separated  here,  as  often  elsewhere,  from  the  main 
building,  so  that  the  nuns  might  sing  unseen,  as  they  still 
do  at  Santa  Trinith,  dei  Monti  at  Rome.  It  is  fitted  up  with 
good  inlaid  choir-stalls  for  the  nuns,  dating  from  1460.  On 
the  R.  wall  in  tliis  choir  is  a  Madonna,  usually  attributed  to 
Palma  Vecchio,  but  perhaps  by  Lorenzo  Lotto  ;  it  represents 


X.]  MINOR   SIGHTS  249 

Our  Lady  and  the  Child  enthroned,  with  a  musical  angel ; 
on  the  L.  are  St.  Bernard,  St.  Gregory  the  Pope,  and  St. 
Paul ;  on  the  R.  are  St.  Elizabeth  of  Hungary,  holding  her 
crown,  as  typical  of  those  in  high  position  who  renounce  the 
world  for  the  monastic  profession  ;  and,  near  her,  St.  Bene- 
dict, as  founder  of  the  order  ;  the  young  saint  behind  I  can- 
not identify.     Is  he  St.  Tarasius  ? 

Over  the  door  is  a  tolerable  and  locally  appropriate  Tin- 
toretto of  the  Birth  of  St.  John  the  Baptist,  with  St.  Zacharias 
and  St.  Elizabeth  ;  this  is  a  good  piece  of  light  and  colour. 
The  pictures  to  the  R.  and  L.  are  by  L.  Bassano,  the  Funeral 
of  the  Virgin  and  the  Assumption  of  the  Virgin.  I  do  not 
think  they  were  painted  for  their  present  situation.  The 
altar-piece  is  a  touching  Mater  Dolorosa,  attributed  to  Titian, 
a  replica  of  the  one  painted  for  the  Emperor  Charles  V. 

The  Nave  and  Aisle  belong  to  the  Renaissance  building  ; 
the  Apse  is  a  relic  of  the  older  Gothic  church,  quaintly  pre- 
served amid  the  newer  architecture. 

The  door  in  the  ambulatory  behind  the  Choir— locked,  but 
opened  by  the  Sacristan  for  a  few  sous — gives  access  to  the 
*CappeIIa  di  San  Tarasio,  a  saint  whose  body  is  preserved 
here.  It  is  a  good  little  Gothic  building,  with  a  fine  vaulted 
apse,  and  it  contains  three  ^magnificent  early  altar-pieces, 
in  their  original  gilt  tabernacle  frames,  very  florid  Gothic,  of 
1444,  due  to  the  munificence  of  noble  and  wealthy  ladies, 
whose  names  they  bear  and  who  were  inmates  of  this 
convent. 

The  *ancona,  or  tabernacle,  which  occupies  the  place  of  a 
HighAUar,  stands  over  the  sarcophagus  containing  the  body 
of  St.  Tarasius.  It  was  the  gift  of  Helena  Foscari,  and  was 
intended  to  contain  a  relic  of  the  Holy  Cross.  The  old  florid 
frame  is  intact,  with  its  numerous  figures  of  saints,  of  whom 
the  one  to  the  L.  above,  nearest  to  Our  Lady,  is  the  patron 
St.  Zacharias,— compare  with  the  much  later  wooden  figure 
on  the  bracket  close  by  ;  the  one  to  the  R.  below,  crowned 
and  holding  the  True  Cross,  is  the  Empress  Helena,  at  once 
the  discoverer  of  the  relic  and  the  name-saint  of  the  donor  ; 
the  other  figures  are  mainly  virgin  martyrs,  Agnes,  Catharine, 


250  MINOR  SIGHTS  [x. 

etc.,  as  is  usual  in  nunneries.  The  pictures  were  originally 
by  Giovanni  (da  AUemagna)  and  Antonio  Vivarini.  St. 
Mark  in  the  L.  corner,  and  St.  Blaise  on  the  R.,  are  still 
theirs ;  the  Madonna  and  the  two  other  figures,  St.  Martin 
and  St.  Elizabeth,  wife  of  St.  Zacharias,  have  been  so  re- 
painted as  to  be  practically  modern.  The  older  figures 
show  the  Cologne  influence. 

The  *altar-piece  on  the  R.  stands  over  the  sarcophagus 
containing  the  remains  of  Saints  Nereus  and  Achilleus  and 
St.  Pancras.  It  is  the  gift  of  Agnesina  Giustiniani,  as  its 
inscription,  dated  1443,  narrates.  Its  wood-work  represents, 
below,  a  Pietk  to  contain  a  relic  ;  above,  the  fainting  figure 
of  Our  Lady  ;  higher  still,  the  Resurrection.  The  paintings 
are  again  by  Giovanni  da  Murano  (da  AUemagna)  and 
Antonio  Vivarini  ;  though  much  repainted,  they  still  show 
the  influence  of  the  Cologne  school.  To  the  L.  are  St. 
Gregory  the  Pope  and  another  saint  (I  think,  St.  Pancras)  ; 
to  the  R.  St.  Nereus  and  St.  Achilleus,  whose  bodies  rest 
below  in  the  sarcophagus. 

The  **altar-piece  on  the  L.  is  the  gift  of  Margherita 
Donate,  and  is  signed  by  Giovanni  and  Antonio  da  Murano 
(Vivarini).  It  represents,  above,  St  Margaret,  the  name- 
sake of  the  donor,  and  another  female  saint  whom  I  fail  to 
recognise  ;  below,  in  the  centre,  St.  Sabina  (whose  body  lies 
in  the  sarcophagus  beneath,  as  the  inscription  testifies),  with 
a  face  extremely  recalling  the  school  of  Cologne  ;  L.,  St. 
Jerome,  with  the  church,  book,  and  lion  ;  R.,  St.  Icerius, 
with  the  instrument  of  his  martyrdom.  The  garden  at  the 
back  of  these  three  last  figures  is  full  of  the  spirit  of  the 
Cologne  school.  The  ancient  part  of  all  three  altar-pieces 
ought  to  be  carefully  studied  by  any  one  who  wishes  to  under- 
stand the  half-German  origin  of  Venetian  painting. 

All  the  saints  in  this  chapel  are  not  oriental,  as  elsewhere 
at  Venice,  but  Roman  from  the  Ccclian  hill — a  noteworthy 
peculiarity. 

Walk  round  the  ambtdatory.  Near  the  end  is  the  tomb 
of  Alessandro  Vittoria,  with  a  bust  of  himself,  by  himself. 

The  adjacent  nunnery  is  now  used  as  barracks. 


X.]  MINOR  SIGHTS  251 

C.     THE  PALLADIAN  CHURCHES. 

[Andrea  Palladio,  of  Vicenza  (15 18-1580),  was  the  last  of 
the  great  Renaissance  architects  of  Venice.  His  palaces  are 
chiefly  seen  in  his  native  town  ;  his  churches  in  Venice. 
He  aimed  at  classical  simplicity,  and  attained  a  chilly, 
cheerless  formality.  He  was  practically  the  father  of  the 
17th  and  1 8th  centuries  and  of  the  "  classical"  mania.  Pali- 
Mall  derives  from  him.  His  churches  here  may  be  well 
compared  and  contrasted  with  the  earlier  and  more  decora- 
tive buildings  of  the  Lombardi,  of  which  we  have  seen  fine 
examples  at  the  Scuola  di  San  Marco  and  San  Zaccaria. 
They  have  a  certain  spacious  stateliness  of  their  own,  though 
they  foreshadow  the  decadence.  The  worst  fault  of  Palladio's 
churches  lies  in  the  fact  that  he  tried  to  apply  the  forms  of 
the  Greek  or  Roman  temple — which  was  a  single  simple  flat- 
roofed  building,  all  of  one  height, — to  the  traditional  require- 
ments of  the  Christian  church,  which  is  a  complex  building 
with  high  nave  and  lower  aisles,  usually  intercepted  by 
transepts.  The  endeavour  to  reconcile  these  conflicting 
types  strikes  the  keynote  of  Palladio's  church  architecture.] 

{a.)    San  Giorgio  Maggiore. 

On  an  island  at  the  eastern  extremity  of  Venice  a  Benedic= 
tine  monastery  in  honour  of  St.  George  the  Martyr  ex- 
isted from  a  very  early  period.  In  mo,  Doge  Ordelafo 
Falier  brought  to  it  the  body  of  St.  Stephen  the  Protomartyr 
(but  he  has  other  bodies  elsewhere  :)  on  which  account  sub- 
sequent Doges  paid  a  yearly  visit  here  on  St.  Stephen's  day. 
The  great  chutrh  of  this  monastery  was  demolished  in  the 
l6th  century,  in  order  that  Palladio  might  rebuild  it  (1560) 
in  its  existing  form.  The  vast  monastic  buildings  around, 
though  still  inhabited  in  part  by  a  few  Benedictine  monks, 
are  mostly  given  over  to  artillery  barracks  and  other  Govern- 
ment offices.  The  whole  island  was  originally  covered  by 
these  monastic  buildings,  the  greatest  in  Venice. 

San  Giorgio  is  best  visited  by  gondola,  though  a  steamer 
starts  from  the  Riva  every  hour. 


252  MINOR   SIGHTS  [x. 

The  exterior  has  a  marble-coated  fagade,  (Scamozzi,  1575,) 
which  well  shows  the  attempt  to  combine  nave  and  aisle 
with  the  classical  form,  the  problem  being  here  solved  by 
means  of  a  sort  of  double  pediment  harshly  interrupted. 
The  chief  figures  on  the  facade  are  appropriately  those  of 
St.  George,  R.,  and  St.  Stephen,  L. 

The  interior  is  cold,  bare,  and  repellently  classical.  It 
has,  however,  at  least  the  merit  of  purity,  being  all  in  one 
style,  as  Palladio  left  it,  unencumbered  by  later  rococo 
additions. 

Over  the  door  is  a  feeble  portrait  of  the  exiled  Pope  Pius 
VII.,  who  was  elected  in  this  church  by  a  conclave  of  fugi- 
tive cardinals  in  1800,  during  the  troubles  which  followed 
the  French  Revolution. 

Begin  in  the  R.  aisle,  ist  altar,  Nativity,  by  J.  Bassano. 
2nd  altar,  wooden  Crucifix,  by  Michelozzo.  3rd  altar,  of 
St.  Cosmo  and  Damian,  the  Martyrdom  of  the  saints,  by 
Tintoretto.  Most  of  the  Tintorettos  in  this  church  are  in- 
ferior works  :  this  curious  and  confused  composition,  a 
hasty  painting,  seems  to  combine  the  various  elements  of 
their  long  torture  in  one  scene,  together,  perhaps,  with  the 
martyrdom  of  St.  Sebastian. 

R.  Transept.  Altar  of  St.  Benedict  ;  Tintoretto,  Corona- 
tion of  the  Virgin,  in  the  presence  of  St.  Benedict  in  his 
black  robes,  to  the  L.,  with  the  book  of  his  rule  and  his 
Abbot's  crozier ;  a  Benedictine  martyr,  wounded  in  the 
head,  and  bearing  the  palm  of  his  martyrdom,  whom  I  do 
not  identify  ;  Pope  Gregory  the  Great,  with  the  dove 
whispering  at  his  ear ;  and  a  Benedictine  bishop  ;  below 
are  a  group  of  Benedictine  fathers,  donors  of  the  picture. 

Altar  beyond  the  Transept  :  Madonna  and  Child,  with 
St.  Scholastica,  (a  Benedictine  nun,)  and  adoring  donors,  by 
Rizzi  ;  a  feeble  picture. 

In  the  Presbytery  is  the  High  Altar,  with  the  figure  of  the 
Eternal  Father  (by  Campagna)  wearing  a  triangular  halo 
(for  the  Blessed  Trinity),  and  supported  on  a  globe  by  the 
symbolic  Evangelists.  On  the  R.  wall,  the  *Last  Supper, 
by  Tintoretto,  one  of  his  gloomiest  pictures,  chiefly  relieved 


X.]  MINOR  SIGHTS  253 

by  the  fine  luminous  head  of  the  Saviour,  and  by  the  group 
of  angels  in  weird  celestial  light  grouped  around  the  cresset ; 
the  domestic  details  to  the  R.,  with  the  fine  effect  of  light 
on  the  face  of  the  realistic  serving-woman,  are  character- 
istic of  Tintoretto's  manner.  On  the  L,  wall,  *Gathering  of 
the  Manna,  (also  by  Tintoretto,)  always  held  to  be  typical 
of  the  Last  Supper  and  of  the  Sacrifice  of  the  Mass  ;  this  is 
a  fine  piece  of  spacious  and  airy  landscape,  with  very  varied 
groups  in  Tintoretto's  naturalistic  manner. 

The  monks'  choir,  behind  the  High  Altar,  has  carved 
wooden  seats,  with  an  entire  series  of  the  usual  scenes  from 
the  life  of  St.  Benedict,  by  a  fine  wood-carver  of  the  Flemish 
Renaissance  school  (1598) — note  the  dolphins,  typical  of  the 
naval  position  of  Venice ;  also,  the  Twelve  Apostles,  bear- 
ing each  the  instrument  of  his  martyrdom. 

Chapel  beside  the  L.  transept  :  the  Resurrection,  by 
Tintoretto,  with  the  family  of  Doge  Vincenzo  Morosini  as 
spectators  of  the  mystery.  Black  and  gold  colouring. 
Above  the  door  to  the  L.,  the  Doge's  monument. 

L.  Transept :  altar  of  St.  Stephen,  who  is  here,  of  course, 
a  leading  saint ;  the  altar-piece,  by  Tintoretto,  represents 
his  martyrdom,  noticeable  for  the  fine  luminosity  of  the 
dying  saint's  head  and  face.  Below,  his  remains,  in  a 
sarcophagus. 

L.  aisle  :  ist  altar,  of  the  name-saint,  St.  George,  bad 
altar-piece  of  his  victory  over  the  dragon.  2nd  altar, 
colossal  rococo  statue  of  Our  Lady  and  the  Child,  and 
fly-away  angels,  by  Campagna.  3rd  altar,  of  St.  Lucy, 
altar-piece  (by  L.  Bassano)  of  the  saint  dragged  to  martyr- 
dom by  ropes  and  bullocks,  which  are  miraculously  unable 
to  move  her  ;  the  painter,  in  order  to  mark  his  sense  of  the 
marvel,  has  employed  a  team  of  half-a-dozen  at  least  for  the 
purpose — a  weak  expedient. 

At  the  end  of  the  aisle,  monument  of  Doge  Marcantonio 
Memmo. 

The  campanile  should  be  ascended  for  the  sake  of  its 
beautiful  *view  over  the  lagoons  and  islands,  perhaps  the 
best  to  be  obtained  in  Venice.     (Easy  mounting  ;  inclined 


254  MINOR   SIGHTS  [x. 

plane ;  quite  clean.)  One  sees  well  from  this  point  the 
position  of  the  Lido  and  of  the  lagoon  ;  while  the  various 
mud-banks,  channels,  and  islets  are  spread  out  like  a  map 
before  you.  It  also  affords  a  good  bird's-eye  view  of  the 
court-yard  of  the  ancient  monastery. 

The  great  Paolo  Veronese  of  the  Marriage  at  Cana,  now 
in  the  Louvre,  came  from  the  Refectory  of  this  wealthy 
monastery. 

(d.)  The  Redentore. 

In  1576,  Venice  was  visited  by  a  severe  epidemic  of 
plague,  which  carried  off  50,000  persons  in  the  city  and 
lagoons.  As  a  votive  offering  for  preservation  from  this 
calamity  the  Republic  determined  to  erect  a  church  to  the 
Redeemer.  The  edifice  was  built  in  1577  by  Palladio.  It 
may  be  conveniently  combined  in  one  excui'sion  with  San 
Giorgio  Maggiore.  On  the  way  to  it,  as  you  skirt  the  quay 
of  the  Qiudecca,  you  pass  the  front  of  the  secularised 
church  and  convent  of  the  Zitelle. 

The  Redentore  is  a  Fraticisca^i  church. 

The  fagade  illustrates,  still  more  strikingly  than  San 
Giorgio,  the  futile  attempt  to  combine  classical  architecture 
with  Christian  necessities.  Both  churches,  however,  it  must 
be  admitted,  form  fine  simple  objects  in  distant  views. 

The  interior  is  even  chillier  and  balder  than  San  Giorgio, 
with  ugly  loopholes  to  admit  the  light.  It  contains  but  few 
objects  of  interest  in  its  cold  blank  desert  of  18th-century 
whitewash. 

R.  aisle  :  ist  altar,  poor  Nativity,  by  Francesco  Bassano. 
3rd  altar,  Christ  bound  to  the  column,  by  Tintoretto. 

The  High  Altar,  under  the  dome,  has  good  late  marble 
reliefs — in  front,  the  Way  to  Calvary  ;  at  the  back,  the 
Descent  from  the  Cross,  by  Mazza  da  Bologna  ;  the  figures 
of  the  two  men  prising  open  the  sarcophagus  in  the  last  are 
characteristic  of  the  late  desire  to  show  power  of  represent- 
ing violent  movement.  On  the  Altar  itself,  a  Crucifixion, 
with  St.  Mark  and  St.  Francis,  patrons  of  the  city  and  the 
order,  by  Campagna. 


X.]  MINOR   SIGHTS  255 

In  the  Sacristy,  behind  the  High  Altar,  are  three  beauti- 
ful *Madonnas,  of  the  school  of  Bellini,  the  particular 
attribution  of  which  has  been  much  debated.  The  loveliest 
and  earliest  is  enclosed  behind  shutters,  in  an  early  frame  ; 
it  represents  **Our  Lady,  in  red,  with  the  sleeping  Child  on 
a  pillow  upon  her  knees,  attended  by  two  exquisite  little 
musical  angels.  On  the  parapet  are  the  symbolical  fruits 
so  often  represented  in  this  subject ;  above  the  green  cur- 
tain appears  the  red-beaked  goldfinch,  connected  by  a  well- 
known  legend  with  the  Crucifixion.  This  lovely  work  is  now 
generally  assigned  to  Alvise  Vivarini. 

The  *second  picture  is  later  in  date,  and  is  now  usually 
attributed  to  Bissolo  ;  it  has  Our  Lady  and  the  Child,  be- 
tween St.  Mark  and  St.  Francis  (city  and  order). 

The  *third,  also  a  very  beautiful  picture,  has  Our  Lady  and 
the  Child  between  the  youthful  St.  John  and  St.  Catharine. 
It  is  doubtfully  assigned  to  Pasqualino. 

These  three  exquisite  pictures  form  the  real  reason  for  a 
visit  to  this  otherwise  bare  and  uninteresting  church. 

The  altars  in  the  L.  aisle  have  only  one  picture  of  any 
interest,  a  weak  Ascension,  by  Tintoretto,  on  the  altar  next 
the  door. 


The  picturesque  canals  of  the  Qiudecca,  at  the  rear,  are 
worth  exploring  in  a  gondola.  They  are  crowded  with  fish- 
ing-craft and  live-fish  baskets.  It  may  be  worth  while  to 
add  in  passing  that  the  word  Giudecca  has  nothing  to  do 
with  Jews,  and  that  the  Ghetto  was  never  situated  here— in 
spite  of  the  inveterate  error  of  English  tourists.  The  island 
was  and  is  the  fishing  suburb  of  Venice. 

D.   THE   RESIDUUM 

A  visit  may  be  made  on  some  spare  afternoon  to  San 
Pietro  di  Castello,  (formerly  St.  Sergius  and  St.  Bacchus,) 
the  original  cathedral  of  Venice.  Ecclesiastically  the  town 
depended  from  the  beginning  upon  the  Patriarchate  of 
Grado,  (representative  of  the  old  Patriarchate  of  Aquileia,) 
but  this  church  was  the  cathedral  of  the  local  Bishop  of 


256  MINOR   SIGHTS  [x. 

Castello,  first  instituted  in  1091.  In  1451  the  seat  of  the 
Patriarchate  was  removed  from  Grado  to  this  place.  San 
Pietro,  which  stands  on  a  separate  island,  may  be  reached 
on  foot  by  going  along  the  Riva  and  then  following  the 
broad,  dry  canal  which  runs  northward  past  the  Public 
Gardens ;  the  last  bridge  on  the  L.  leads  you  down  a 
narrow  dirty  street  till  you  can  see  the  campanile  and 
church  before  you.  The  approach  by  land  is  so  squaUd, 
however,  that  I  recommend  you  to  go  rather  in  a  gondola. 

The  cainpo  in  front  of  the  church  is  spacious  and  im- 
posing. The  caatpanile,  (a  handsome  building  of  1474,) 
unlike  almost  all  others  in  Venice,  is  coated  with  white 
marble  from  top  to  bottom,  and,  in  its  long  straight  lines 
and  fine  proportions,  is  extremely  stately.  It  retains  the 
general  tone  of  the  Romanesque  campanili. 

The  fagade  of  the  church  presents  a  good  average  speci- 
men of  a  Palladian  design,  1596.  The  large  building  to  the 
R.  of  the  church,  now  a  barrack,  is  the  ancient  patriarchal 
palace.  The  interior  of  the  old  cathedral  contains  little  of 
interest  except  a  handsome  marble  patriarchal  chair,  said  to 
have  been  brought  from  Antioch.  It  is  covered  with  ancient 
Arabic  inscriptions  from  the  Koran,  in  the  old  Cufic  charac- 
ter. The  third  altar  has  a  tolerable  altar-piece  by  Marco 
Basaiti,  representing  the  patron,  St.  Peter,  enthroned.  Under 
the  High  Altar  lies  the  body  of  San  Lorenzo  Giustiniani,  the 
first  Patriarch  of  Venice.  Behind  it,  in  a  niche,  is  a  con- 
temporary statue  of  the  saint,  from  which  the  features  in 
later  pictures  appear  to  have  been  taken. 

This  out-of-the-way  church  thus  deserves  a  visit  on 
account  of  its  connection  with  the  episcopate  and  patri- 
archate of  Venice,  the  seat  of  which  was  only  removed  to 
St.  Mark's  in  1807,  by  Eugene  Beauharnais,  when  Viceroy 
of  Italy. 


The  Museo  Civico  Correr,  housed  in  the  Fondaco  dei 
Turchi,  I  do  not  advise  you  to  visit  unless  your  time  is  very 
ample.  The  collection  is  not  unlike  those  of  the  Musee  de 
Cluny  or  the  Bargello  at  Florence,  but  on  a  very  poor  scale ; 


X.]  MINOR   SIGHTS  257 

and  much  of  it  is  uninteresting.  In  the  court  are  some  good 
specimens  of  Venetian  well-heads,  together  with  a  colossal 
antique  statue  of  M.  Agrippa,  the  son-in-law  of  Augustus, 
said  to  have  been  brought  here  from  the  Pantheon  at  Rome, 
which  Agrippa  founded.  The  most  famous  object  in  the 
interior  is  a  Carpaccio  excessively  praised  by  Ruskin — 
"  the  best  picture  in  the  world."  It  seems  to  me  a  feeble 
work,  representing  two  Venetian  courtesans  on  the  roof  of 
their  house,  surrounded  by  their  pets.  There  are  also  a 
good  Transfiguration  by  Mantegna  ;  a  dry  Pietb,  by  Cosimo 
Tura  ;  and  another  by  Giovanni  Bellini.  But  none  of  these 
works  is  sufficiently  important  to  take  you  out  of  your  way, 
unless  your  time  is  very  free.  You  will  find  other  far  more 
notable  works  in  the  minor  churches. 

Foremost  among  these  (in  illustrative  value)  I  would  place 
San  Francesco  della  Vigna,  a  large  rambling  church  in 
the  north-eastern  quarter,  hard  of  access,  and  best  ap- 
proached by  gondola  direct.  It  is  Franciscan,  of  course, 
and  is  said  to  occupy  the  precise  spot  where  St.  Mark 
landed  on  his  way  from  Aquileia,  and  had  his  famous 
dream  that  his  body  should  finally  rest  in  these  islands. 
Its  great  gem  (to  my  mind)  is  its  lovely  **Madonna  by  Fra 
Antonio  da  Negroponte,  a  little-known  Paduan  artist,  about 
1450 — perhaps  the  most  strangely  neglected  among  the 
wonderful  pictures  of  Venice.  In  calm  dignity  and  graceful 
charm  of  colour  this  glorious  Madonna  has  few  equals  ;  yet 
nobody  visits  it.  It  stands  on  the  R.  wall  of  the  right  tran- 
sept. The  left  transept  gives  access  to  the  Cappella  Santa, 
whose  altar-piece  is  a  *Madonna  with  Saints  Sebastian, 
Jerome,  John  Baptist,  and  Francis,  by  Giovanni  BeUini, 
much  retouched  ;  this  is  a  good  work,  but  not  to  be  named 
in  the  same  day  with  the  delicious  Negroponte.  I  may  add 
that  Francis,  Jerome,  and  John  the  Baptist  are  important 
saints  in  this  church  ;  Franciscan  doges  and  persons  named 
Francesco  are  much  commemorated  in  it.  The  Cappella 
Giitstiniani,  left  of  the  choir,  has  a  good  sculptured  altar- 
piece  by  the  Lombardi,  with  St.  Jerome  and  other  appro- 
priate saints,  and  scenes  in  relief  from  the  life  of  St.  Jerome, 
G.V.  R 


258  MINOR   SIGHTS  [x. 

comprehensible  after  you  have  seen  San  Giorgio  degli 
Schiavoni.  The  2nd  altar  in  the  left  aisle  is  a  plague  altar, 
with  statues  by  Vittoria  of  St.  Roch,  St.  Sebastian,  and 
St.  Antony  Abbot.  Altogether,  for  those  who  have  time  to 
examine  it,  this  is  one  of  the  most  interesting  minor  churches 
in  Venice.  With  the  hints  here  given,  you  will  understand 
most  of  it. 

Several  otherchurchesaremainlyfamous  for  a  single  picture. 
Santa  Maria  Formosa,  a  very  old  foundation,  but  with  a 
building  of  little  interest,  is  visited  chiefly  for  one  superb 
Palina  Vecchio,  doubtless  the  finest  thing  its  master  ever 
painted — a  ■**Santa  Barbara  erect  between  four  other  saints. 
Owing  to  her  legendary  connection  with  towers,  St.  Barbara 
became  the  patroness  of  artillery  and  fortification  ;  and  this 
altar  (the  first  on  the  right)  was  that  of  the  guild  of  Bombar- 
dieri,  who  thus  commemorated  their  chosen  lady.  The 
cannon  at  St.  Barbara's  feet  bear  out  the  allusion.  She  is 
represented  as  a  singularly  queenly  and  beautiful  woman, 
with  a  noble  carriage  of  the  head  and  throat ;  crowned  as 
princess  with  a  most  military  crown,  and  holding  in  her 
hand  the  palm  of  her  martyrdom.  Her  robe  is  glorious. 
Nothing  more  stately  or  majestic  ever  proceeded  out  of  the 
later  school  of  Venice.  The  other  saints  are,  R.,  St.  Antony 
and  St.  Dominic  ;  L.,  St.  Sebastian  and  St.  John  Baptist. 
In  the  lunette,  a  Pieta.  The  church  has  many  other  in- 
teresting pictures. 

Near  the  Rialto  Bridge  stands  the  church  of  5an 
Giovanni  Crisostomo.  You  may  look  in  as  you  pass 
some  day  to  see  the  finest  Giovanni  Bellini  hitherto  unmen- 
tioned.  It  occupies  the  first  altar  on  the  R.,  and  represents 
•*St.  Jerome  reading,  flanked  by  St.  Christopher  (L.)  and  St. 
Augustine  (R.)  This  is  Bellini's  last  work,  dated  15 13,  in 
his  87th  year, — but  it  is  still  firm  and  vigorous.  Almost, 
equally  fine  is  an  exceptionally  noble  *Sebastiano  del 
Piombo,  representing  the  patron  of  the  church,  St.  John 
Chrysostom,  and  therefore  occupying  the  place  of  honour  on 
the  High  Altar.  The  great  Greek  Father — a  good  instance 
of  the  survival  of  Bvzantine  hagiology  in  Venice — is  seated 


X.]  MINOR   SIGHTS  259 

in  an  open  portico,  reading  and  transcribing.  Close  by,  his 
patron,  St.  John  the  Baptist,  gazes  at  him  with  fatherly 
affection.  Behind  stand  St.  Augustine  and  San  Liberale. 
On  the  left  are  three  beautiful  female  saints— Catharine, 
with  her  wheel,  Lucy,  with  her  lamp,  and  Mary  Magdalen, 
with  her  pot  of  ointment,  as  if  entering  suddenly.  This  is  a 
fine  example  of  the  later  informal  arrangement  of  the  Santa 
Conversazione,  and  it  is  also  a  good  specimen  of  Sebastianc 
del  Piombo's  early  Giorgionesque  manner,  before  he  came 
under  the  influence  of  Michael  Angelo.  It  is  thoroughly 
Venetian  in  type,  and  its  drawing  and  colouring  recall 
Giorgione.  The  luxurious  women  saints  are  specially 
characteristic  of  Sebastiano,  and  are  obviously  laying  them- 
selves out,  not  to  be  saintly,  but  to  be  attractive  and  charm- 
ing. The  chapel  to  the  left  of  the  choir  has  yet  another  St. 
John  Chrysostom,  (perhaps  by  Mansueti,)  accompanied  by 
St.  Onofrio,  St.  Andrew,  and  St.  Agatha. 

Just  over  the  water,  beyond  the  Rialto  Bridge,  is  the 
church  of  St.  John  the  Almsgiver,  San  Giovanni  Elemo= 
sinario— an  Alexandrian  saint,  who  was  adopted  by  Venice 
in  the  days  of  her  close  intercourse  with  Egyptian  Christ- 
endom. Its  High  Altar  has  a  famous  picture  by  Titian, 
representing  the  patron,  San  Giovanni,  Patriarch  of  Alex- 
andria, distributing  alms,  which  a  beggar  is  receiving.  It  is 
a  fine  piece  of  colouring,  with  Titian's  characteristic  man- 
nerism of  attitude.  The  chapel  to  the  R.  of  the  High  Altar 
has  also  a  good  Pordenone,  a  plague-picture,  St.  Roch  as 
chief  plague-patron,  between  St.  Sebastian  and  St.  Catharine 
of  Alexandria. 

The  church  of  the  Pieta  on  the  Riva  degli  Schiavoni  is 
chiefly  visited  for  its  very  fine  Moretto,  behind  the  High 
Altar,  *Christ  in  the  House  of  Simon  the  Pharisee.  This 
noble  and  graceful  picture  shows  us  Moretto  as  the  origina- 
tor of  that  palatial,  lordly,  splendid,  non-religious  mode  of 
treating  these  festal  subjects,  which  was  afterwards  carried 
to  so  unpleasant  an  extreme  by  Paolo  Veronese.  Like  most 
of  its  class  it  was  originally  the  decoration  of  a  refectory — 
that  of  the  convent  of  San  Fermo  at  Monselice. 


26o  MINOR   SIGHTS  [x. 

San  Vitale,  near  the  Iron  Bridge  which  leads  to  the 
Academy,  has,  in  the  choir  behind  the  High  Altar,  a  famous 
Carpaccio,  representing  the  patron,  San  Vitale,  the  martyr  of 
Ravenna,  on  horseback.  Close  by  is  his  wife,  Valeria,  with 
St.  John  the  Baptist,  St.  James,  and  St.  George.  Separated 
from  these  saints  by  a  high  screen  are  San  Vitale's  two 
sons,  St.  Gervasius  and  St.  Protasius,  attended  by  St.  Peter 
and  St.  Andrew.  Above,  in  clouds,  the  Madonna  in  glory 
gazes  down  upon  the  martyr. 

The  church  of  San  Simeone  Grande,  not  far  from  the 
railway  station,  is  mainly  noticeable  for  a  very  noble 
**tomb  of  the  namesake  prophet,  whose  remains  rest  within 
it.  The  effigy  of  the  saint,  by  one  Marco  the  Roman, 
(1317,)  is  a  splendid  work  of  Gothic  sculpture.  It  should 
be  compared  with  that  of  St.  Isidore  in  St.  Mark's,  and  that 
of  Doge  Andrea  Dandolo. 

I  do  not  recommend  a  visit  to  the  remote  church  of  the 
Madonna  dell'  Orto,  except  for  those  who  are  specially 
attracted  by  Tintoretto.  These  will  probably  take  Ruskin 
for  their  guide.  The  church  contains  **three  of  the  finest 
Tintorettos  in  Venice,  and  is  further  interesting  as  being 
the  great  painter's  own  parish  church — his  house  standing 
almost  opposite.  But  those  who  are  not  special  Tintoretto 
worshippers  will  find  equally  good  examples  of  the  master 
elsewhere ;  and  the  Madonna  dell'  Orto  is  remote  and 
difficult  of  access.  It  has  also  a  very  fine  Cima, — an  altar- 
piece  of  his  own  patron,  St.  John  the  Baptist,  on  a  pedestal 
between  Saints  Paul  and  Jerome,  and  Saints  Peter  and 
Mark.  Likewise,  an  admirable  Palma  Vecchio  of  St. 
Stephen  with  a  little  court  of  attendant  saints. 

I  do  not  wish  it  to  be  thought  that  even  this  final  list  by 
any  means  exhausts  the  objects  of  interest  at  Venice — nay, 
even  the  objects  of  high  aesthetic  value.  Other  works  of 
the  first  importance  meet  one  at  every  turn.  Such  are  the 
four  splendid  **Greek  lions  at  the  gate  of  the  Arsenal, 
Titian's  Annunciation  in  the  church  of  San  Salvatore,  the 
famous  landscape  by  Giorgione  in  the  Palazzo  Qfovanelll, 
(admission  by  private  introduction  only,)  the  Martyrdom 
of  St.  Lawrence  by  Titian  in  the  church  of  the  Oesuiti, 


X.]  MINOR   SIGHTS  26 1 

Cima's  beautiful  Baptism  of  Christ  in  San  Giovanni   in 

Bragora,  and  the  charming  Renaissance  spiral  staircase 
known  as  the  Scala  Minella  in  the  Corte  del  Maltese. 
But  Venice  is  of  course  inexhaustible,  and  my  object  in 
this  work  is  not  so  much  to  mention  all  its  artistic  treasures 
as  to  put  the  tourist  on  the  right  road  for  appreciating  those 
most  salient  features  which  his  time  permits  him  to  see. 
Any  indefatigable  traveller  who  finds  he  can  adequately 
examine  all  that  is  recommended  in  this  book,  and  yet  has 
leisure  for  more  extended  researches,  may  turn  with  advan- 
tage to  Karl  Kdroly's  excellent  little  work  on  The  Paintings 
of  Venice,  where  most  of  the  principal  objects  unconsidered 
here  meet  with  due  notice. 


One  last  word  as  to  Excursions.  Of  these,  by  far  the 
most  important  is  that  to  Torcello.  Steamers  go  frequently; 
(see  the  handbills  of  the  moment ;)  but  as  a  rule  they  spend 
a  whole  hour  uselessly  at  Burano,  an  uninteresting  place, 
with  the  object  of  inducing  visitors  to  inspect  a  lace-factory, 
and  buy  lace.  Those  who  prefer  early  art  had  better 
instantly  engage  one  of  the  rough  little  gondolas  which 
clamour  for  hire  at  the  landing-place  of  Burano,  the  mo- 
ment the  steamer  arrives,  and  get  themselves  ferried  across 
without  delay  to  Torcello.  They  will  thus  secure  a  double 
advantage ;  not  only  will  they  have  a  longer  time  to  ex- 
amine the  very  interesting  Cathedral  of  Torcello,  but  they 
will  also  see  it  before  the  main  crowd  of  tourists  arrives — a 
matter  of  great  moment,  as  the  key-note  of  Torcello  is  its 
strange  and  weird  desolation. 

Next  to  Torcello  in  importance  comes  Murano,  the  archi- 
tecture of  whose  Cathedral  should  be  compared  with  that  of 
Torcello.  A  delightful  excursion  is  that  to  Padua  by  the 
steamer  to  Fusina,  and  thence  by  steam  tramway,  return- 
ing by  rail.  The  picturesque  trip  to  Chioggia  is  chiefly 
interesting  for  the  glimpse  which  it  gives  one  of  the  lagoons 
and  their  shipping. 

Yet  when  all  is  said  and  done, — St.  Mark's,  the  Doge's 
Palace,  the  Academy,  the  Grand  Canal,  are  the  first  and 
last  word  of  the  visitor  to  Venice. 


APPENDIX 

LATIN    INSCRIPTIONS    OF    THE    FACADE   AND 
ATRIUM    OF   ST.    MARK'S 

FACADE.  ' 

Over  the  Mosaic  of  the  Reception  of  the  Body. 

Corpore  suscepto  gaudent  modulamine  recto ; 
Currentes  latum  venerantur  honore  locatiim. 

Over  the  13th  Century  Mosaic. 
Collocat  hunc  dignis  plebs  laudibus  et  colit  hymnis, 
Ut  Venetos  semper  servet  ab  hoste  siios. 

Over  the  lunettes  above. 

1.  De  cruce  descendo,  scpcliri  cum   nece  tendo ;  Quae 
mea  sit  vita,  jam  surgam  tnorte  relita  {relicta). 

2.  Visitat  infernum  regnum  pro  dando  supernum 
Patribus  antiquis,  dimissis  Christus  iniqitis. 
Quis,  fractis  portis,  spoliat  me  campio  fortis  ? 

3.  Crimina  qui  purgo  triduo  de  morte  resurgo, 
Et  mecum  multi  dudiim  rediere  scpulti. 

En  verus  fortis  qui  fregit  vi7icula  mortis. 

4.  Sum  7'ictor  mortis,  regno  super  aethera  fortis^ 
Plausibus  angelicis,  laudibus  et  mclicis. 

Atrium. 
Over  the  main  door, 
A  lapis  Marce  dclicta  prccantibus  arce, 

Ut  surgant  per  te,  factore  suo  miscrante. 
•mi 


APPENDIX  263 

Lunette. 
Sponsa  Deo  gigno  natos  ex  Virgine   Virgo, 
Quos  fragiles  firino  fortes  super  ^^thera  viitto. 

Round  the  Evangelists. 
Ecdesiae  Christi  vigiles  sutii  quatuor  isti, 
Quorum  duke  nielos  sonat  et  niovet  undique  coelos 

1ST  Division. 
In  principio  creavit  Deus  caelum  et  terram. — Spiritus  Do- 
mini ferebatur  super  aquas. — Appellavitque  lucem  diem  et 
tenebras  noctem. — Fiat  _fir>namentum  in  medio  aquarum. 

Fiant  luminaria  in  Jirmainento  coeli.  Dixit  etiaiii  Do- 
minus  :  producant  aquae  reptile  ani/nae  viventis  et  volatile 
iiper  terrain;  jumenta  et  omnia  reptilia  in  genere  suo. 

Faciamus  hominem  adimaginem  et  similitudifiem  jiostram. 
— Et  benedixit  diet  sepiimo. — Et  inspiravit  in  faciem  ejus 
spiraculum  vitae. — Etiam  posuit  in  medio  paradisi  (lignum 
vitae)  lignuniqiie  scientiae. 

Appellavitque  Adam  nominibus  suis  cuncta  animantia. — 
Cumque  obdormisset,  tulit  unam  de  costis  ejus  et  replevit 
carnem  pro  ea,  et  adduxit  earn  ad  Adam. — Hie  setpens 
loquitur  Evae  et  decipit  earn. — Hie  Eva  accipit  pomum  et 
dat  viro  suo. — Hie  Adatn  et  Eva  cooperiunt  se  foliis. — Hie 
Dominus  vocat  Adam  et  Evam  latentes  se  post  arbores. 
— Hie  Dominus  increpat  Adam. — Ipse  monstrat  uxorem 
fuisse  causaui. — Hie  Dominus  malcdicit  serpenti  cum  Adam 
et  Eva  ante  se  existetitibus. — Hie  Dominus  vestit  Adam  et 
Evam, — Hie  expellit  cos  de  paradiso. — Hie  incipitttit  labo- 
rare. 

Round  the  Cherubim  in  the  pendentives. 
Hie  ardet  Cherubi?i  Christi Jlammata  calore. 
Semper  et  aeterni  soils  radiata  nitore. 
Mystica  slant  Cherubitn  alas  monstrantia  setias, 
Quae  Dominum  laudant,  voces  promendo  serenas. 

At  the  end. 
Crescite  et  multiplicamini  et  replete  terram. 
Hie  peperit. 
Chris tus  Abel  cernit  j  Kayn  et  sua  munera  spertiit. 


264  APPENDIX 

Egredlaimir  foras.  Cumqiie  essetit  in  agro,  coiisnrrexit 
Cain  adversiis  fratreni  snum  et  inierfecit  ewii. 

Dixitqiie  Domintts  ad  Cain  :  quid  fecisti  ?  Ecce  vox 
sanguinis  fratris  tui  clamat  ad  me  de  terra. 

Dixitque  Cain  ad  Dominum :  major  est  iniquitas  mea 
quam  ut  veniam  mereaf. 

2ND  Division. 
Dixitque  Dominiis  ad  Noe  :  Fac  tibi  arcam  de  lignis  levi- 
gatis :  treccntorum  cubiloruni  erit  longitude  arcae,  quinqua- 
ginta  cubitorum  erit  latitudo  et  triginta  erit  altitude  illius. 
— Tulit  ergo  Noe  de  animantibus  et  de  volticribtis,  mundis  et 
itninundis,  et  ex  onini  quod  nwuetitr  stiper  terram,  duo  et  duo, 
masculum  et  frminam,etingressi  sunt  ad  eiim  in  arcam  sicut 
praeceperat  ei  Do  minus, — In  articulo  Diet  ingress  us  est  Noe, 
Sem,  Cham  et  Japket,  filii  ejus  et  uxores  filiorum  ejus,  cum 
eis  in  arcam.  Factumque  est  dibiviiim  quadraginta  diebus 
super  terram  etqitindecim  cubit  is  altior  fuit  aqua  super  monies. 
— Cumque  consiiinpta  esset  omnis  caro  super  terram,  cmisit 
Noe  columbam. — At  ilia  venit  ad  eum portans  ramum  olivae 
in  ore  et  intcllexit  Noe  quod cessassent  aquae  diluvii. — Ponain 
arciwi  itt  7tubibus  et  erit  in  signuin  foederis  ut  non  sint  ultra 
aquae  diluvii. — Noe  obtulit  liolocaustum  Domino  post  dilu- 
vium. 

3RD  Division. 

Noe,  post  exitum  arcae  de  diluvto,  plant avit  vineam,  bi- 
bensque  vinum  inebriatus  est  et  nuclatus  in  tabernaculo  sue. 
Quod  cutn  vidisset  Cham  pater  Chanaan  verenda  patris  sui 
esse  nudata,  nunciavit  duobus  suis  fratribus  forisj  at  vero 
Sem  et  Japhet  palium  imposuerunt  humeris  suiset  incedcntcs 
retrorsum  cooperuerunt  verenda  patris  sui,  faciemque  eorum 
aversae  erant  et  patris  virilia  no  91  vide  runt. — Evigilans 
mitem  Noe  ex  vino,  cum  didicissct  quae  fecerat  ei  filius  suus 
minor,  ait :  maledictus  Chanaan  servus  scrvorum  erit  fra- 
tribjts  suis. — Dies  autem  Noe  nongentorum  quinquaginta 
annorum  et  mortuus  est. 

Post  mortem  i.'ero  Noe  dixerunt  gentes :  venite  faciamus 


APPENDIX  265 

nobis  civitatem  ct  turrim  cujus  culinen  pertingat  ad  coclum. 
Quod  intiiens  Domimis,  ait :  venite  videre  civitatem  et  tur- 
rim quam  aedifica7it  filii  Adam  et  dixit  ecce  tinus  est populus 
et  tmiim  labium  omnibus^  venite  et  descendamus  et  co7ifunda- 
mus  linguam  eortim  ut  non  audiat  uniisquisque  voccm  proxi- 
mi  sui.  At  que  ita  divisit  eos  Do  minus  ex  illo  loco  in  uni- 
versas  terras  et  cessaverunt  aedificare  turrim. 

4TH  Division. 

Dixifque  Do  minus  ad  Abram  :  Egredere  de  terra  tua  et 
veni  in  terram  quam  monstravero  tibi ;  tulitque  uxorem 
suam  et  Loth  Jilium  fratris  sui  ut  irent  in  terram  Chanaan. 
— Septuaginta  quoque  annorum  erat  Abram,  cum  egredcr- 
etur  de  Aran. — Cum  audisset  Abram  captum  Loth.,  numeravit 
trecentos  decern  et  octo  expedifos  vernaculos  et  persecutus  est 
eos;  et  reduxit  Loth  ct  omnem  substantiam.—At  vero  Mel- 
chisedech  rex  Salem  profercns  panem  et  vinum,  erat  enivi 
sacerdos  Dei  altissimi,  benedixit  ei. — Dixitque  rex  Sodom- 
orum  ad  Abram :  Da  7nihi  animas  et  coetera  tolle  tibi.  Qui 
respondit  ei :  Levo  nianum  jneam  ad  Dominum  Deum  excel- 
suni  possessorcm  coeli  elterrae. — Ingredcrc  ad  ancillani  meam 
si  forte  saltern  ex  ilia  suscipiam  Jilios. — Dixifque  angelus 
Domini  ad  Agar  ancillani  Sarai:  Revertere  ad  dominam 
tuam. — Peperitquc  Agar  Abrae  filium  qui  vocavit  nomen 
eius  Lsmael.— Dixit  Dominus :  Ne  ultra  vocabitur  nomen 
tuum  Abram  sed  Abraham.  Dixit  iteyuni  Dominus  ad 
Abraham:  circumcidite  ex  vobis  omiie  masculinum  et  cir- 
cumcidetis  carnem  preputii  vestri.  Injans  octo  dierum  cir- 
cumcidetur  in  vobis. 

About  the  Prophets. 

Annunciate  in  gentibus  et  audi  turn  facite,   levate  signum, 

praedicate  et  nolite  celare. 
Ecce  vir  cinctus  lineis  et  renes  eius  accincti  auro  obrizo. 
Filios  enutrivi  et  exaltavi,  ipsi  vero  spreverunt  me. 
Linguam  tuam  adhaerere  faciatn  palate  tuo,  quia  domus 

exasperans 


266  APPENDIX 

At  the  sides. 

Cum  sederet  in  ostio  tabernaculi  sui,  apparuerunt  ei  ires 
viri  et  adoravit  ei  dixii. 

Tulitqne  butyrum  et  lac  et  vitulum  quern  coxerat,  ei  posuit 
coram  eisj  et  ipse  stabat  juxta  eos  sub  arbor e.  Cui  dixit : 
Revertens  veniam  ad  te  tempore  isto,  et  habebit  filium  Sara 
uxor  tiia;  quae  risit  post  ostium  tabernaculi. 

Visifavii  autem  Dominus  Saram,  sicut  prbmiserat,  et  im- 
plevit  quae  locutus  estj  concepitque^  et  peperit  ei  filiujn  in 
senectute  sua,  tempore  quo  praedixerat  ei  Deus.  Vocavitque 
Abraham  nomen  ejus  Ysaac.  Et  circumcidit  eum  octavo 
die. 

Over  the  arch. 

Signat  Abrain  Christum,  qui,  gentis  spretor  hebraee 
Trans  at  ad  getttes,  ei  sibijunxit  eas. 

5TH  Division. 
Hie  vidii  Joseph  somjiium  manipulorum  et  solis  et  lunae 
ei  undecim  stellarum. — Hie  Joseph  tiarrat  fratribus  suis 
somnium. — Hie  pater  eius  increpavit  eum  de  narratione 
somnii. — Hie  Joseph  missus  erravit  in  agro  et  vidit  virum 
unwn  et  interrogavit  eum  de  fratribus  suis.—Ecce  somniator 
venit:  occidamus  eum.~Hic  Joseph  inittitur  in  cisternam,  et 
comedentibjis  fratribus,  viderunt  mercatores  voiire. — Hie 
extraxerunt  eum  de  cisterna. — Hie  vendideruni  Joseph 
Hismaelitis  XX  argenteis.—Hic  ducitur  Joseph  in  ALgypium 
a  mercatoribus. — Hie  Ruben  non  itiveitii  Joseph  in  cisterna. 
— Hie  est  denuntiatio  mortis  Joseph,  et  Jacob  pater  eius 
plorat. 

About  the  Prophets, 

[gw/J  honorificaverit  me,  honorificabo  eum  [qui]  confemnent 
me,  ego  abjiciam,  dicit  Dovnnus. 

Melior  est  obedientia  quam  victimae  ;  super  bonos  delecta- 
tur  Dominus  et  non  super  sacrificia. 

Haec  dicit  Dominus :  non  recedct  gladius  de  domo  tua  in 
sempiternum.     Ecce  suscitabo  super  ie  malum  de  domo  tua. 

.  .  .  In  judicium  posuisti  eum;  et  foriem  ui  corriperes, 
fundasti. 


APPENDIX  267 

Inircnt  securi,  veniain  quia  sunt  habiiuii 
Omnes  cott/essi  qui  non  sunt  crimine  pressi. 

Under  the  arch. 
Radix  omnium  bonorum  charitas. 
Christophori  sancti  speciem  quicumque  tuetur, 
Illo  nempe  die  nullo  languore  teneUir. 

6th  Division. 

Hie  Hisniaelitae  vendtoit  Joseph  Putiphar  eunucho  Pha- 
raonis  in  ^gypio. — Hie  Etitiuchus  tradit  omnia  bona  sua  in 
potestate  Joseph. — Hie  dieit  uxor  Putiphar  loseph :  dormi 
meeum. — Hie  loseph  relieto  pallio  in  nianu  mtdieris  fugit. — 
Hie  rnulier  videns  se  delusam^  ostcndit  pallium  loseph  omni- 
bus de  domo  sua. — Hie  Putiphar  ponit  loseph  in  eareere. — 
Hie  Pharao  jubet  poni  in  eareere  pineernam  et  pistorem. — 
Hie pineerna  et  pistor  existentes  in  eareere  vident  somtiia, — 
Hie  loseph  interpretatus  est  pineernae  et  pis  tori  somnia  quae 
viderunt. 

Hie  Pharao  restituit  pineernam  in  officium  sicum. — Hie 
Pharao  pistorem  feeit  suspendi  in  patibulo. — Hie  Phai-ao 
vidit  per  somnium  septem  boves  pingues  et  septem  niaeras 
confeeias,  et  maerae  devoravertint  pingues. 

Hie  vidit  per  somnium  septem  spieas  in  cuhno  uno  pienas 
et  formosas,  et  alias  septem  spieas  tenues  et  vaeuas,  quae 
devoraverunt  priores  pienas. — Hie  Pharao  quaerit  interpre- 
tationem  somniorum  a  sapientibus  suis. — Hie  pitieerna  dieit 
Pharaoni  qualiter  loseph  dixerat  sibi  et  pistori  eventuni 
somniorum  stiorum. 

Sotnnia  quae  vidit  Pharao  loseph  reseravit: 
Collegit  segetes,  populis  quas  partieipavit. 

7TH  Division. 
Hie  lacob  praeeepit  deeem  filiis  suis  ut  irent  in  ^gyptum 
eausa  eme?idi  frumentum. — Hie  loseph  eongregavit  fratres 
suos  et  dure  loquens  eis  posuit  eustodiae  tribus  diebus. — Hie 
fratres  loseph  loquuti  sunt  invicetn :  merito  haec  patimur, 
quia  peecavimus  in  fratrcm  nostrum.  Et  loseph  avcrtit 
se  et  planxit. — Hie  loseph  i us  sit  Simeon  ligari  frairibus 


268  APPENDIX 

praesentibusy  et  peamiam  singulorum  reddi. — Hie  Joseph 
redaetas  segetes  in  manipiilos  jiissit  congregari  in  horrea 
^gypti.  —  Hie  A  scenes y  tixor  Joseph,  peperit  Ephraim 
secundum  filitim. — Hie  poptilus  clamavit  ad  Pha7'aonem 
alimetita  petens  j  quibus  respondit :  ite  ad  Joseph. — Hie 
aperuit  Joseph  horrea  inimensa,  et  vendebat  ALgyptiis. 

Hie  Jacob  mittit  Benianiin  cum  aliis  filiis  suis  in 
^gypttim. — Evaciiantes  saccos  frumento,  receperunt  pccu- 
niam  in  ore  sua. — Hie  Joseph  recipit  Bcniamin  fratrem  suiim 
uterifium. 

Ut  Deus  hie  parcat  tumulaiis,  qui  legis,  ora  : 
Et  te  salvabit  si  sanctos  ejus  honoras. 

8th  Division. 
I^ic  filia  Pharaonis  jubet  tolli  infantulum  Moysen  de 
fiuDune. — Hie  Moyses  virum  JSgyptium  percutientem  He- 
braeum  oecidit  et  abscondit  sabulo. — JJie  Moyses,  altero  die, 
redarguens  Hebraeum  facientem  injuriam  alteri,  audivit : 
Numquid  occidere  tu  me  vis  ?  Et  timuit  et  ivit  in  terram 
Madian. — Hie  Jiliae  sacerdotis  Madiam  venerunt  adaqttare 
greges  patris. — Hie  Moyses,  defcnsis  puellis  de  7nanu  pas- 
torum,  adaquavit  oves  earum. — Hie  juravit  Moyses  habit  are 
eujn  sacerdote  Madian. — Hie  Moyses  veniens  ad  montem 
Oreb  vidit  rubuin  ardentem  et  non  eomburebaturj  et  solvit 
calceanientuiii  de  pedibus. 

Mane  pluit  majtna,  cecidit  quoque  sero  coturnix; 

Bis  siliccm  ferit,  lane  ajjluit  largissima  plebi. 

Over  the  end  door. 
Supplicet,  o  Christe,  pro  nobis   Virgo  Maria, 
Evangelistae  simul  Mi  duo,  summa  Sophia. 


INDEX 


Abraham,  mosaics  of,  41. 
Academy,  the,  120-175. 
Altars  in  St.  Mark's,  68,  71. 
Altinum,  13,  14,  16. 
Ancona  or  tabernacle,  249. 
Antiquities,  18,  27,  195-197,  257. 
Apostles,  mosaics  of,  50,  61. 
Archaeological  Museum,  194. 
Ascension,  mosaics  of  the,  59. 
Atrium  of  St.  Mark's,  26,  38-45. 
Bacchus  and  Ariadne,  the,  179. 
Baldacchino,  65,  68. 
Baptistery,  the,  47,  52. 
Basaiti,  Marco,  154. 
Bassano,  164,  174,  185. 
Bellini,  Gentile,  144-147. 
Bellini,    Giovanni,    130-136,    150, 

187,  232,  248,  257. 
Bissolo,  156,  255. 
Boccaccio  Boccaccino,  134. 
Bonifazio,  Hall  of,  166-175. 
Bordone,  Paris,  170-172. 
Bridge  of  Sighs,  the,  94. 
Bronze  Horses  at  St.   Mark's,  26, 

27.  57- 
Bronzes,  collection  of,  195. 
Browning,  residence  of,  201. 
Busts,  collection  of,  195,  196. 
Byron,  residence  of,  211. 
Byzantine  Christ,  47,  53,  71. 
Byzantine  influence,  17-21,  24, 
Byzantine  \'enice,  23-84. 
Ca  d'Oro,  the,  208. 
Cain  and  Abel,  mosaics  of,  40. 
Campanile,  the,  99. 
Canal,  the  Grand,  198-214. 
Canova,  tomb  of,  239. 
Capitals  of  columns,  89,  92. 
Cappella  dei  Mascoli,  the,  55. 
Cappella  di   Sant'    Isodoro,    the, 

80-82. 
Cappella  di  San  Tarasio,  the,  249. 
Cappella  Zen,  the,  51-53. 
Carpaccio,  Vittore,   138-143,  146, 

151,  157,  244-247,  257,  260. 
Cathedral,  the  former,  255. 
Chair  of  St.  Mark,  the,  83. 
Cima  da   Conegliano,    132,    133, 

134,  136,  149,  260,  261. 
Clement,  St.,  chapel  of,  75. 
Clock  Tower,  the,  97,  98. 
Colleoni,  Bartolommeo,  218. 
Constantinople,  conquest  of,  17. 
Creation,  mosaics  of  the,  39. 
Crivelli,  158. 


Crypt  of  St.  Mark's,  the,  83. 

Cufic  inscriptions,  256. 

Dandolo,  Andrea,  47,  51, 

Dandolo,  Enrico,  17. 

Dogana  di  Mare,  the,  198. 

Doge,  The,  15.  [i97' 

Doge's   Palace,  the,  85-102,  176- 

Dominican  church,  215-229. 

Don  Carlos,  residence  of,  200. 

Dungeons,  197. 

Duse,  residence  of,  199, 

Dutch  pictures,  159. 

Etruscan  element,  13. 

Fede,  the,  178. 

Flagstaffs,  100. 

Flemish  pictures,  160. 

Fondaco  de'  Turchi,  the,  205. 

Font,  51. 

Frari,  the,  229-239. 

Friars'  churches,  215-240. 

Friuli,  Painters  of,  159. 

Gallery  of  St.  Mark's,  56-64. 

George,  St.,  22,  34. 

German  influence,  121. 

Giorgione,  260. 

Giovanni    Alamanno,    121,     123, 

129,  250. 
Giudecca,  the,  255. 
Gothic  art,  19,  24,  85. 
Gothic  Venice,  85-96. 
Granite  columns,  83. 
Greek  Fathers,  50. 
Greek  influence,  18,  69. 
Greek  lions,  260.  [70. 

Greek  spoils,    17,   18,   27,  37,  38, 
Herodias'    daughter,    mosaics  of, 
Jacobello  del  Fiore,  123,  126.  [49. 
Jewellery,  69-71. 
John  the  Baptist,  mosaics  of,  48, 
Joseph,  mosaics  of,  42,  43. 
Lagoons,  14. 

Latin  Fathers,  51.  [203. 

Layard,   Sir  A.  H.,  residence  of, 
Leonard,  St.,  mosaics  of,  63. 
Leopardi,   Alessandro,    100,   218, 

222,  239. 
Lepanto,  battle  of,  161. 
Library,  in  Doge's  Palace,  194. 
Libreria  Vecchia,  The,  98. 
Lido,  The,  14. 
Lion  of  St.  Mark,  21,  84. 
Loggetta,  the,  99. 
Lombard!,  the,  97,  113,  115,  223. 
Lorenzo  Veneziano,  125. 
Lotto,  Lorenzo,  225. 


269 


270 


INDEX 


Madonna    del    Orto,    church    of 
the,  260.  [133. 

Madonna  01  the  Two  Trees,  the, 
Malamocco,  14,  15,  16.  [35. 

Manin,    Daniele,    monument   of, 
Mantegna,  132,  257. 
Maps,  collection  of,  195.  [67. 

Massagne,    sculpture  by  the,   65, 
Merceria,  the,  98. 
Montagna,  Bartolommeo,  155. 
Moretto,  174,  259. 
Morosini,  tomb  of  Doge,  221. 
Mosaics,    30,    33,  38,  39,  44,  46, 

47,  48,  55.  61,  71,   73.  74.   81, 

82,  221. 
Moses,  mosaics  of,  44. 
Murano,  20,  21,  261. 
Museo  Civico  Correr,  256. 
Negroponte,  Fra  Antonio  da,  257. 
Noah,  mosaics  of,  41. 
Nuova  Fabbrica,  the,  102. 
Oriental  influence,  17,  25. 
Our     Lady,      mosaics     of,     55 ; 

miraculous     portrait     of,     65  ; 

legends  of,  59. 
Palazzo  Bembo,  210. 
Palazzo  Contarini-Fasan,  213. 
Palazzo  da  Mosto,  208. 
Palazzo  Dona,  202. 
Palazzo  Farsetti,  210. 
Palazzo  Loredan,  210. 
Palazzo  Priuli,  204. 
Pala  d'Oro,  the,  67-71. 
Palladio,  churches  by,  251-255. 
Palma  Veechio,    169,    170,    174, 

258,  260. 
Palina  the  Younger,  182,  183,  193. 
Paradise,  the,  188. 
Patriarchal  throne,  71. 
Patron  saints,  21,  22. 
Pavement,  mosaics,  46. 
Pepin,  15,  16. 
Peter,  St. ,  chapel  of,  75. 
Piazza,  the,  97-102. 
Pieti,  church  of  the,  259. 
Pietra  del  Bando,  37. 
Plague-churches,  103- 119. 
Ponte  di  Rialto,  203,  209. 
Pordenone,  173. 
Porta  dei  Fiori,  36. 
Porta  della  Carta,  92.  [73. 

Presbytery  of  St.  Mark's,  29,  67- 
Procuratie  Nuove,  the,  loi. 
Procuratie  Vecchie,  the,  97. 
Prophets,  mosaics  of,  72 
Pulpits,  in  St.  Mark 
Redentore,  the,  254, 


,82. 

61,  73. 

[146. 
23-84. 

-119. 


Reliefs,  31,  32,  35,  38,  46,  54,  80, 

221. 
Renaissance  art,  19. 
Renaissance  Venice,  97-102. 
Rialto,  the,  16,  209. 
Rivo  Alto,  15,  16,  198. 
Royal  Palace,  the,  101. 
Sacristy  of  St.  Mark's,  the, 
St.  Mark,  mosaics  of,  53, 

74.  146. 
St.  Mark's,  17,  18,  19,  21, 
St.  Sebastian,  Church  of,  116 
Salute,  the,  104-107. 
San  Giobbe,  church  of,  112-115. 
San  Giorgio  degli  Schiavoni,  242- 

247. 
•San  Giorgio  Maggiore,  251-254. 
San  Giovanni  Chrisostomo,  258. 
San  Giovanni  Elemosinario,  259. 
San  Gregorio,  monastery  of,  107. 
San  Pietro  di  Castello,  255. 
San  Rocco,  church  of,  107-112. 
San  Simeone  Grande,  260. 
Sansovino,  98,  99,  177,  185. 
San  Vitale,  260. 
San  Zaccaria,  247-250. 
Sant'  Alvise,  church  of,  115. 
Santa  Maria  Formosa,  258. 
Scala  dei  Giganti,  the,  95. 
Scala  d'Oro,  the,  177. 
Scala  Minella,  261. 
Scuola  della  CaritA,  the,  120,  122. 
Scuola  di  San  Giovanni  Evangel- 

ista,  144,  239. 
Scuola  di  San  Marco,  219. 
Scuola  di  .San  Rocco,  107-111. 
Scuola  di  Sant'  Ursula,  140. 
Sketches,  collection  of,  153. 
Theodore,  St.,  22,  23,  34. 
Tiepolo,  tomb  of  Doge,  220. 
Tintoretto,     106,     108-111, 
167,     178,    179 
183,    184, 
253,   260. 
,   106,    112, 
178.   231, 


187. 


151. 
180, 
1S8, 


129, 
237, 


149. 
259. 
[260. 


162-164, 

181,    182, 

192,  252, 
Titian,    105, 

164,    170, 
Torcello,  14,  15,  21,  261 
Treasury  of  St.  Mark's,  the,  82. 
Vendramin,  tomb  of  Doge,  223. 
Veronese,     Paolo,    116-119,     149, 

160-166,  180,  192. 
Vivarini,  the,  121,  124,   129,  131, 

137.  138.  224,  2.^1^  236. 
Wagn^r^  reBfdehce  (;tf,  207. 
WUiged  Lion  of  St:  Mark,  21,  84. 
Zecica,  The,  99. 
Zen,  toattb  pfiCardinal,  54. 


MEMORANDA  27 1 


UNIVEKSTTY  OF  CALIFORNIA  LIBEAEY, 
BEEKELEY 

THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 

STAMPED  BELOW 

Books  not  -turned  OB  time  are  -^3-*  to  a^  fi-«.„«f 
50c  per  volume  after  the  th^rd  day  ovem     ,^^^^  ^^^  .^ 

^^'em^^nT^fy  W^Lrd^f'lppl^atioJ  is  made  before 
expiration   of  loan  period. 


A9?<' 


^nee  T  f  2?dec  0  3  2004 


MAY5-19GS37 


mn^ 


^ 


-1*^„,l^^pjjpg^^ 


373X52 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


